EXHIBITION OF PORTRAITS 
BY 


JOHN NEAGLE 


APRIL 12, 1925 MAY 13, 1925 


THE PENNSYLVANIA ACADEMY 
OF THE FINE ARTS 
PHILADELPHIA 
1925 


MANAGEMENT OF THE PENNSYLVANIA 
ACADEMY OF THE FINE ARTS 


PRESIDENT, 
JOHN FREDERICK LEWIS. 


VICE-PRESIDENT, 
ARTHUR H. LEA. 


DIRECTORS, 
THEOPHILUS P. CHANDLER, JOSEPH E. WIDENER, 
GEORGE H. MCFADDEN, ELI KIRK PRICE, 
CLEMENT B. NEWBOLD, HENRY S. DRINKER, JR., 
EDWARD T. STOTESBURY, THOMAS S. GATES, 
ALFRED C. HARRISON, ALFRED G. B. STEEL, 
ARTHUR H. LEA, HENRY C. GIBSON, 


FRANK H. CAVEN. 


TREASURER, 
HENRY C. GIBSON. 


SECRETARY, 
JOHN ANDREW MYERS. 


CURATOR OF SCHOOLS, 
BARBARA BELL. 


RESIDENT MANAGER, CHESTER SPRINGS SUMMER SCHOOL, 
D. ROY MILLER. 


SOLICITOR, 
MAURICE B. SAUL. 


COMMITTEE ON EXHIBITION, 
CLEMENT B. NEWBOLD, CHAIRMAN, 
GEORGE H. MCFADDEN, ALFRED C. HARRISON, 
EDWARD T. STOTESBURY, JOSEPH E. WIDENER, 
HENRY S. DRINKER, JR. 


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THE PENNSYLVANIA ACADEMY 
OF THES EINEVARTS 


FOUNDED 1805 


CATALOGUE OF AN 
EXHIBITION 
OF PORTRAITS BY 
JOHN NEAGLE 


FINAL EDITION 


PHILADELPHIA 
1925 


Jae 
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ACKNOWLEDGMENT 


The Pennsylvania Academy of the Fine Arts takes pleasure in 
acknowledging its indebtedness to Mr. Mantle Fielding, through whose 
advice and generous cooperation, many of the paintings shown in this 
exhibition were obtained. | 

The Academy is indebted also to Mr. Fielding for work in arranging 
the facts concerning the subjects of the canvases. 

The task of making a comprehensive collection of portraits by John 
Neagle was of exceptional difficulty, because no registry which gives the 
present owners exists. 


To the lenders of the works of this artist the Academy is most grateful. 


JOHN NEAGLE 


ARTIST 
(1796-1865) 


Bim 


MANTLE FIELDING 


It is a matter of regret to the student of American painting, that 
few of the records, letters, and other writings of John Neagle, have been 
preserved. 

There are still to be found some of his letters to friends and patrons 
arranging for the painting of portraits, and his son, Garrett C. Neagle, 
has presented to The Historical Society of Pennsylvania, John Neagle’s 
Commonplace Book. This latter is really a memorandum about different 
painters describing their methods, criticisms, and opinions. It is an in- 
valuable aid, alike to the painter and art student, written in the hand 
‘of the artist, and explains many matters not otherwise recorded. Unfortu- 
nately there has been no attempt to prepare a complete list of Neagle’s 
work, and its need has been badly felt by collectors of American paintings. 

John Neagle was born at Marlborough House, a hotel of some preten- 
sions, in Marlborough Street, Boston, Massachusetts, on the 4th day of 
November, 1796 (not 1799, as noted by Dunlap), during a temporary visit 
of his parents from their home in Philadelphia, Pennsylvania. 

He was baptised in the Roman Catholic Church in Boston by Bishop 
Chevereux, who was later, upon returning to France, honored with a Cardi- 
nal’s hat. Just as the baptismal ceremony was about to begin, an alarm of 
fire set the town in commotion. The baby’s sponsor stepped out to 
see if his own residence was in danger, and not returning in time, Bishop 
Chevereux said, ‘‘ Well, he is a nice boy, and if you will allow me, I will 
become the sponsor.” ‘This graciousness greatly pleased the father and 
mother who started in a few days with the future artist for their home 
in Philadelphia. 

Neagle’s father was a native of Doneraile, in the county of Cork, Ireland: 
and his mother, whose maiden name was Taylor, was the daughter of a 
New Jersey yeoman and was born near Bordentown, New Jersey. 


5 


John Neagle lost his father when he was only four years old, and was 
brought up by his mother who married a second husband. She lived to 
see her talented son married and settled in Philadelphia as a successful 
portrait painter. 

He had but little early instruction in art, and his boyish efforts to copy 
and draw figures were directed by a fellow school-boy named Petticolas, 
who afterwards became a well-known artist of Richmond, Virginia. 
Young Neagle looked up to him as a master and imitated his attempts, 
until Neagle became the artistic wonder of his school-mates. He spent 
a short time in the drawing school of an Italian painter and drawing 
master, Signor Pietre Ancora, and was then apprenticed to Thomas Wilson, 
a coach and ornamental painter of Philadelphia. Wilson soon after became 
a pupil of Bass Otis, the portrait painter, who opened a studio in Phila- 
delphia in 1812. Otis experimented in engraving and made the first 
lithographic prints in the United States. Young Neagle, employed in the 
coach painting room, was accustomed to carry Wilson’s palettes and brushes 
to and from the Otis studio, and in this way became known to Otis who 
gave him some instruction. It was during this period of his study, when 
Neagle was about nineteen years old, that Otis painted that delightful 
portrait of his pupil which now hangs in the gallery of The Pennsylvania 
Academy of the Fine Arts. He also about this time first met the artist, 
Thomas Sully, being introduced by Otis in Sully’s studio on Fifth Street. 
Sully not only made him welcome but also invited him to visit his gallery 
and study his paintings. This introduction grew into more intimate relations 
when Neagle married Mary Chester Sully, the daughter of Lawrence Sully 
and Sarah Annis Sully. After the death of Lawrence, his widow, Sarah, 
married Thomas, who was Lawrence’s youngest brother. 

In the year 1818, he set up his easel at his mother’s house, Almond 
and Front Streets, Philadelphia, and began the regular practice of his 
profession. Thinking that he might compete with more success with the 
painters beyond the mountains, he traveled to Lexington, Kentucky, with 
a view of establishing himself in that then fast-growing town. His first 
question was, “‘Is there any portrait painter in Lexington?” and to his 
amazement he was told that there were two. He went in search of them and 
chance diverted him first to the painting room of Matthew Harris Jouett, 
a student of Stuart and by all odds the best painter west of the Alleghany 
Mountains. Neagle saw at a glance from the work of that gentleman, that 
Jouett was a good and well-instructed artist, and that he himself would 
have no chance of employment or of becoming the leading portrait painter of 
Lexington. The young artist’s money being expended, he determined to 
go on to New Orleans, and if no good awaited him there to find his way 


6 


home by sea. To pay his passage down the Mississippi was out of the ques- 
tion; he therefore offered his services to the captain of a boat. Neagle’s 
appearance did not please the rough boatmen, who, thinking him a dandy, 
soon gave him such indications of their dislike, that he was glad to 
retreat from a hopeless battle. Fortunately for our young painter, he was 
relieved from his awkward situation by the loan of a few dollars from a 
Mr. Burns who had known him in Philadelphia, and the youth, once 
more afloat, was carried with the current towards New Orleans. As they 
approached that great commercial emporium of the Southwest, he felt 
the necessity of raising some more money, and opening his trunk he was 
fortunate in selling the skipper part of his wardrobe. He was now landed 
in New Orleans, one of the most extravagant places for board and lodging 
in the United States. Here he would have found himself in another awk- 
ward situation, if he had not met another acquaintance from the East, 
Mr. Edward Hall of the firm of Hawkins and Hall, of Philadelphia. This 
gentleman had sat to Neagle for his portrait and now bought from Neagle 
a painting of the head of Washington, which our young artist had brought 
from Philadelphia, rolled in a trunk. The money from this picture sale 
enabled him to pay his passage to Philadelphia. 

Neagle’s business improved after his travels. He established himself 
as a portrait painter in the Quaker City and continued to advance by 
his unwearied study and application to his art. In May, 1820, he married 
Mary Chester Sully. They had ten or eleven children, many of them 
inheriting the artistic talents of their father. 

On July 12, 1825, John Neagle started on a pilgrimage to Boston 
with his friend, James Barton Longacre, the Philadelphia engraver, to 
visit the studio of Gilbert Stuart, the greatest of American portrait painters. 
From the interesting diary of the engraver we can trace their journey to 
Boston, which consumed a week, as well as their reception by the veteran 
portrait painter. Under the date of July 2oth the journal recites: 


“We took a carriage and called on Mr. Stuart, were very 
handsomely received by him. His age does not appear in the 
least to have impaired his faculties, so far as judgement and con- 
versation are concerned. His powers are still displayed in his 
most recent pictures; they are full of likeness and animation.” 


On this visit they also made the acquaintance of Washington Allston, 
who dined John Neagle many times and went with him to Stuart’s studio 
to see the portrait Neagle painted of Stuart. 


tf 


Neagle carried with him to Boston a portrait he had _ recently 
painted of Mathew Carey, the publisher, of Philadelphia, which he intended 
showing to Stuart as a sample of his work in portraiture. In Longacre’s 
diary he records under the date of July 22nd: 


‘““Neagle went to see Stuart, and showed his portrait of Mr. 
Carey, which he had nearly faltered in, in spite of all my exhorta- 
tions and entreaties.” 


Neagle need not have faltered in showing this fine portrait to Stuart 
who received it with favorable criticism and much invaluable advice. 
The exalted position Stuart occupied as a painter is shown by Neagle’s 
apprehensions and misgivings in submitting his work for criticism. Of 
course, Neagle was greatly flattered, as well he might be, at Stuart’s 
sitting to him for his portrait. He writes, ‘‘That he should have 
honored me, an humble artist and a stranger, by not only sitting for a 
portrait entire, but also by sitting for the completion of a copy is singular. 
My portrait is the last ever painted of this distinguished artist. I pre- 
sented it to Stuart’s friend, Isaac P. Davis, Esq., and it is now, I think, 
the property of the Boston Atheneum.’”* 


Neagle gave the following account of the sittings. 


“Mr. Stuart had stepped out of the painting room (it was at 
his own house) and in the meantime as a preparation for his sitting 
I placed alongside of my unfinished portrait one painted by him 
of Mr. Quincy, the Mayor of Boston, with the view of aiding me 
somewhat in the coloring. When he returned and was seated 
before me he pointed to the portrait of the Mayor and asked, 
‘What is that?’ ‘One of your pictures.” “Oh; my boyjeyan 
should not do that,’ said he. ‘I beg your pardon, Mr. Stuart; I 
should have obtained your permission before I made use of it; 
but I have placed it so carefully that it cannot suffer the least 
injury.’ ‘It is not on that account,’ said he, ‘that I speak. I 
have every confidence in your care; but why do you place it there?’ 
‘That I might devote my mind to a high standard of art,’ I replied, 
‘in order the more successfully to understand the natural model 
before me.’ ‘But,’ said he, ‘does my face look like Mr. Quincy’s?’ 
‘No, sir, not at all in the expression, nor can I say that the coloring 
is even like; but there is a certain air of truth in the coloring of 
your work, which gives me an insight into the complexion and 
effect of nature; and I was in the hope of catching something from 
the work of the master without imitating it.’” 


There can be no doubt that Neagle drank deep at the fountain: of 
Stuart’s genius. The conversations carried on at these sittings were helpful 
and inspiring, and Neagle missed nothing that fell from Stuart’s lips. 


* Now hanging at the Boston Museum of Fine Arts. The copy spoken of is the replica 
at The Historical Society of Pennsylvania. 


8 


Neagle told John Sartain, the engraver, that while he was painting 
Stuart’s portrait, the weather was very hot and that his colors became 
ropy and unmanageable. Stuart, as he posed, saw the trouble the artist 
was having with his paint and asked him if he did not know how to remedy 
it. Neagle acknowledged he did not. ‘‘Well, hand me your palette and 
knife and I will show you.” He then spat in the color and with rapid motion 
of the knife mixed it in thoroughly, treating each pigment in succession 
in the same way. Neagle said the effect was magical, the paint afterwards 
rapidly obeyed every touch. 

That Stuart’s mind. remained vigorous, an entry in Mr. Longacre’s 
diary shows very clearly. 

“July 23rd, Saturday—In the morning I called on Mr. Stuart 

—much interested in his conversation from eleven till nearly two 

o’clock; we were in his painting room.” 

This visit was an epoch in Neagle’s career, and in the subsequent 
distinction he attained, may be traced the influence of Stuart’s teaching. 

The following year, 1826, when Neagle was in his thirtieth year, he 
produced what is regarded as his masterpiece, the full-length portrait of 
Patrick Lyon, the blacksmith at his forge. A replica can be seen at The 
Pennsylvania Academy of the Fine Arts. The original, somewhat smaller, is 
at the Boston Athenzum, this society having purchased it for $400. The 
Academy replica was painted three years later and is dated 1829. The 
story connected with the painting of this portrait is that the subject, Pat 
Lyon, was not only a blacksmith, but also a clever locksmith. He had 
been employed by the Bank of Pennsylvania in the latter capacity and had 
done some work in their vaults. When the great robbery of the bank 
occurred, something over $160,000 being stolen, suspicion fell upon him. 
All this happened in 1798, the year of the yellow fever, and Lyon being 
away from the city, did not learn of the robbery until some two weeks 
after the event. He at once returned to town and met the President, 
Cashier and Robert Wharton, then an Alderman. In spite of a straight- 
forward account of his movements, which in a court of law, when substan- 
tiated, would have established an alibi, he was suspected of being an 
accomplice and was incarcerated, upon failing to secure bail which was de- 
manded in a very large sum. In prison he remained some three months, and 
there is a rare engraving of him seated in the prison cell, by James Akin (see 
Stauffer’s American Engravers No. 19). It was then discovered that the 
guilty parties were a porter of the bank and a carpenter. Nearly all the 
money was recovered from the latter, the porter having died of yellow 
fever within a week of the robbery. Lyon very naturally brought suit 
against the directors, and eventually received a compromise payment 
from the bank of $9,000. Whether or not this was the foundation of his 


9 


fortune, it is certain that he prospered as time went on, and at the period 
at which Neagle painted him was very well-to-do. It is said that Lyon 
ordered his portrait painted as follows: ‘‘Do it at full length, do it your 
own way; take your own time, and charge your own price; paint me as a 
blacksmith. I don’t want to be represented as what Iam not—a gentleman.” 

It is supposed that Pat’s idea in association with the latter classification 
on canvas, at least, was largely one of clothes, and from an artistic stand- 
point it was infinitely more desirable that he should be handed down in 
leather apron and bared arms, than arrayed in a suit of black broadcloth. 
It is a strong, vigorous painting of a strong, vigorous man. The building 
with the cupola, shown in the background of the picture, has been sup- 
posed to be a representation of the Walnut Street gaol where Lyon 
was imprisoned. It is, however, more likely to have been intended for 
Carpenters’ Hall where the Bank of Pennsylvania was installed at the 
time of the robbery. The idea of introducing this detail into the design 
was probably entirely due to Neagle. In fact the whole composition 
is typical of the artist, whose instruction was, “‘Do it your own way.” 

John Sartain, the engraver, said that Neagle told him that after 
receiving the commission to paint the full-length portrait of Pat Lyon, so 
much time elapsed before a sitting could be arranged, that the artist 
suspected that Lyon was purposely evading it. Neagle told Lyon what he 
thought, and asked him to say frankly whether he doubted the artist’s 
ability to produce a creditable picture. ‘‘ Well, then,” said Lyon, “frankly 
thatisit. You know, Mr. Neagle, you are still a very young man, and it has 
been shown me that it takes long experience to produce such a picture 
as is proposed, and you might not succeed.’ Neagle contrived to learn 
from him at length that it was Bass Otis, whose pupil Neagle had been, who 
had suggested the doubt. 

Neagle was stung to exasperation at this check and appealed earnestly 
to Lyon to trust him and not to withdraw from him this opportunity for 
distinguishing himself. Lyon was so favorably impressed with the confi- 
dence and enthusiasm of the artist, that he told him to go on with his work. 
The result was the very successful portrait now owned in Boston, and the 
larger replica hanging at The Pennsylvania Academy of the Fine Arts. 

Neagle told Sartain that his anxiety made him imitate closely all the 
objects in the Smithy that appear in the picture, even measuring them, as 
well as carefully drawing them. 

From this time forward Neagle never lacked sitters. The public saw 
evidence of good taste and power, and a knowledge of the arts surprising in 
one so young and whose advantages had been so meagre. A prominent sitter 
was the Rev. Dr. Wylie, Vice-provost of the University of Pennsylvania. 
Neagle had crowds of sitters from among the most distinguished people in 


10 


the city. Among them, Commander Barron, Commander Elliott, Colonel 
Linnard of the army, and others. In the meantime, finding himself so far 
from the centre of the city, he moved his studio to Walnut Street, below 
Fifth, where he finished the portrait of Mathew Carey, the well-known 
bookseller and author. This picture won compliments from our ablest 
artists. The celebrated Gilbert Stuart said, on looking at it in Boston, 
“T know that man, though I have not seen him for fifty years.”’ He first 
saw him in Dublin, in a printing office, a merry, mischievous, bright lad, 
always in scrapes, full of Irish pluck, and prone to fights. When Mr. 
Stuart saw the portrait, he said, ““That is a bobbish picture.” Neagle 
did not understand the term “bobbish,” and upon asking Mrs. Stuart 
what it meant, she answered: 

“Did he call your picture ‘bobbish’?”’ 

“Yes,” said Neagle, “‘and I am afraid he does not like it.” 

“Quiet your fears,’ she replied, “‘for if that is what he said, he paid 
you a high compliment. With him, ‘bobbish’ is synonymous with ‘remark- 
ably fine.’”’ 

Allston also praised it highly, saying it was better than any head 
done by the artist Leslie except one—the head of Sir Walter Scott (then 
hanging in the parlor of a gentleman in Boston). 

About 1827 Neagle went to New York on a visit of business and 
pleasure. He had received a commission from Wemyss and Lopez to paint 
rapid portraits of certain distinguished actors in New York, among them, 
Kean, Forrest, Mr. and Mrs. Hilson, Mr. and Mrs. Barnes, Mr. Thayer, 
and others. While there, he was invited to a dinner party at the house of 
Mr. Foot, two or three miles from the city, on the banks of the Hudson. 
A number of gentlemen were present, and after the cloth had been removed, 
it was proposed that Mr. Kean should give Neagle a sitting, the artist 
having taken his materials with him for that purpose. The character 
chosen was Richard III, and the passage to be illustrated was, “I can 
smile, and smile, and murder while I smile.” Mr. Kean, being about to 
leave New York for some engagement, had all his things packed. Neagle 
was placed immediately opposite to him at the dinner-table, that the artist 
might have an opportunity of studying the countenance of the great 
tragedian. Mr. Wemyss was present and suggested the sitting. Kean 
called his servant to unstrap his trunks and get out his dress and ornaments 
for the character. Meanwhile, Neagle had prepared paints and canvas, 
and asked Kean to have the goodness to call up a look expressive of the 
sentiment of the part. With every desire to aid the artist, Kean felt great 
embarrassment at the emergency, declaring that he could not do it, and 
saying to Neagle, “Let us have a glass of brandy and water together.” 
After which he made an effort or two, and failing, he remarked: “I'll be 


1g 


d——d if I could ever stand up like a school-boy and recite a passage 
detached from its meaning or connection.” 

Neagle seemed surprised at this, and observed: ‘‘Sir, you have been 
accustomed to face immense houses in Europe and in this country, what 
is the reason you cannot call up the requisite expression in this small circle?”’ 

The actor replied, “It is not affectation, sir, the simple truth is, I 
cannot express what I do not feel. Let us have some more brandy and water.”’ 

But the artist, realizing the task before him, touched the brandy 
lightly. That raised a laugh. Neagle then said to Kean: “With Hamlet 
and Othello I am well acquainted, but with Richard I am at a loss. Where 
is your book?” 

‘Bring the book,” said Kean to his attendant, and opening it and 
reading to himself a page or two, he at once entered into the feeling of 
the part, and threw himself into a superb attitude, repeating the words 
with admirable effect, eliciting applause from all present. This posture 
he held for twenty minutes, during which time the artist worked for dear 
life. Then Kean said, “‘Let us have a little more brandy.” He took the 
posture again, three times, twenty minutes each, and that concluded the 
sketch. This was the only sitting Kean gave to an artist in this country. 
The gentlemen resumed their seats at the table, and the conversation 
became general until the party broke up. When Kean’s carriage drove up, 
he sprang into the coachman’s seat. 

“What are you doing there?” inquired Foot. 

Kean replied: “I am going to drive Neagle to town.” 

“No, no,”’ said Foot, ‘the coachman is here, and you shall not do it.” 

“But I will, though,” replied Kean; “I am on the box, with the 
ribbons and the whip; so good-night to you all.’ And crack went the 
whip, and away rolled Kean and his friend Neagle. This was the eve of 
the Fourth of July, and the town was alive with boys and men, shooting 
off fire-crackers, pistols and squibs of all kinds, greatly to the alarm of 
the horses. On their arrival in the vicinity of the park, the horses reared 
and plunged at a frightful rate, but Kean, skilful and self-possessed, 
piloted them through the throngs of excited humanity, and finally reached 
the hotel—Clark & Brown’s—at the junction of Maiden Lane and Liberty 
Street. ‘This was long a famous resort for the business men of New York, 
and is still a popular dining-house. On their arrival at the hotel, Kean 
insisted upon Neagle’s going in with him. “‘Come,” said he, “the great 
Fourth of July will be tomorrow, and we will make a night of it.” 

““No, no,” replied Neagle. ‘“‘My wife is waiting for me, and I cannot 
stay. 

“But you shall,” said Kean. ‘“‘Come in: we will have a bottle of wine 
and a grand supper. What do you like best? Come, now—if there is any 


12 


delicacy to be had for love or money, we will have it.’”? Neagle, however, 
with a great deal of difficulty, begged off, and returned to his young wife. 

The next day, by appointment, Neagle, with a friend, called upon 
Kean, who had promised to give him a second sitting. He found him alone 
and looking out of the window. “Come,” said Neagle, “let us have the 
second sitting.” 

“What!” exclaimed Kean, “a sitting on the Fourth of July? Are 
you an American and a patriot? Nonsense, man, we will have no sitting 
today, except the sitting at a fine dinner, in which you and your friend 
must participate, for I expect a number of the most distinguished literati 
here to dine with me, and I want you to be of the party.”’ Neagle, however, 
excused himself. 

In conversation, on another occasion, about Kean’s style of acting, par- 
ticularly in Othello, Neagle said, ‘‘ Allow me, sir, to ask you why you make 
yourself so monotonous in your soliloquies? I know you have a reason for 
it, and I wish you would give it to me.” 

His reply was: “Shakespeare never intended that those soliloquies 
should be great points in the hands of the actor. A play is like a picture— 
you, as an artist, know that: the same principles govern both. I see, from 
your own pictures you do not put everything in a bright light. I ask you, 
sir, do you not require bright lights for some portions, lesser lights for 
others, and obscurity for others?” 

The artist said: “Yes, no pictorial effect can be produced without 
attention to these important principles.” 

Kean then resumed: “I know the compass of my own voice; I know 
the notes that are good, and those which are indifferent; were I to throw 
the whole power of my voice upon these soliloquies, which are often 
merely explanatory, I should certainly fail when I arrived at some leading 
point of the author; for the author must give his principal characters, 
and secondary characters, and supernumeraries to make a whole. So, 
also, does he give you principal parts of a principal character, which 
should receive the brightest lights, and secondary parts to be under some 
subordination of light, with portions, also, to be thrown into partial 
obscurity.”” Again he said, “‘These bright lights are the proper emphasis 
to produce an effect. We should cease to be astonished at the thunder if 
it thundered all the time.” 

A portrait of Forrest to be painted by Neagle was selected by Lopez and 
Wemyss to adorn their Acting American Theatre. This was in 1826. Neagle 
had fitted up a sort of studio in the upper loft (the fifth or sixth story) of 
Peale’s old Museum, on the west side of Broadway, opposite the park, New 
York. The weather was warm, and the painter had been waiting for some 
time for Mr. Forrest to make his appearance according to appointment. 


13 


Presently, his strong, resolute step was heard on the stairs, and soon he 
dashed into the room with a loud, theatrical ‘“‘Whew! I say, Neagle, but it 
is hot, and these stairs are a breather, indeed, for a fellow who has worked 
as hard as I worked last night! By jove!”’ (gasping spasmodically) “I 
feel as if I was going to have a rush of blood to the head’’; and he had 
scarcely taken his seat before he rolled off the chair in a fit. Poor Neagle 
was filled with consternation. With palette on thumb and brushes in his 
left hand, he set about untying the tragedian’s cravat. ‘“‘What if he 
should die?”’ he thought; and he added, mentally, ‘““They may say I 
murdered him!’ His fright was so great that for a while he made but 
little headway. There lay the stalwart and handsome actor, then in his 
twenty-second year, and his breathing was so thick and choked that it 
looked as if that hour might be his last. While trying to raise his head, 
one of the artist’s brushes accidently entered the tragedian’s nostril. The 
brush was full of turpentine, which caused Forrest to snort in the most 
approved style of the actor’s art. Soon consciousness returned, and the 
tragedian stood up, shook himself, washed his face and took his chair for 
the sitting. 

In Lopez and Wemyss’ American Theatre will be found a portrait of 
Miss Lydia Kelly, as Beatrice in ““Much Ado About Nothing.” The 
picture from which it was engraved was painted in 1826. Miss Kelly is 
dressed in white satin, with a great deal of puffing; her head-dress con- 
sists of three large ostrich feathers; a bit of blue sky and an indication 
of a red curtain give it tone. The arms are painted with the armlet 
gloves which were fashionable forty years ago. Mr. Sully is said to have 
regarded it as one of Neagle’s finest works, perhaps superior to Mrs. Wood 
as Amina in “Somnambula,” owned by the Musical Fund Society. 
Without Neagle’s series of dramatic portraits the appearance of many of 
the early American stars would be lost to us today. 

Neagle was a director of The Pennsylvania Academy of the Fine Arts 
in 1830-1831, and one of the founders of the Artists’ Fund Society, and its 
president for eight years (1835-1843). 

Quite a number of Neagle’s theatrical portraits were purchased by the 
well-known comedian, John E. Owens. After his death they were sold by 
his widow to Edwin Booth, who enriched the collection of theatrical pic- 
tures owned by the Players’ Club of New York by presenting it with his 
entire collection. | 

Neagle was fond of Whist, and for many years amused himself at 
least one evening in the week in this way. He often played with old 
Benjamin Cross, Thomas Sully (the artist), Frederick Hupfeld, E. P. 
Mitchell, J. R. Welsh, J. S. Natt, General Tyndale, Jesse Lee, W. B. Hill, 
Croome (the artist), G. W. Homes (the artist), John Huneker, I. L. 


14 


Williams (the artist), John Hewitt (the artist), Rothermel (the artist), 
William Rudman (the brewer) whose portrait Neagle painted, and which 
is now owned by the Summer School of The Pennsylvania Academy of the 
Fine Arts at Chester Springs, Chester County. 

Neagle took snuff and played Whist because Sir Joshua Reynolds was 
particularly given to both. He was convivial in his habits, but never passed 
the bounds of propriety in eating, drinking or language. 

Neagle in his prime was about five feet eight inches in height. He 
was erect in carriage, courteous in manners, always smartly dressed, 
prepossessing in appearance, and a strict observer of the etiquette of life. 
He had a swarthy complexion, keen black eyes, black straight hair, and a 
somewhat Indian-like expression of face. His conversation was intelligent 
and interesting. With literature, science and music he was well acquainted, 
and upon all subjects connected with his art he had a large store of informa- 
tion and anecdote. His individuality was remarkable. 

Neagle’s portraits show him as a skilful delineator of character, a 
vigorous draughtsman and a powerful colorist. His portraits of men are 
much better than those of women; except in the cases of very elderly 
women with rugged faces, seamed and lined, like his interesting portrait of 
Mrs. Earle, the old Quakeress, in the gallery of The Pennsylvania Academy 
of the Fine Arts. 

Neagle, as has been shown, was a close student of Gilbert Stuart’s 
methods, his handling being free, bold, firm and strong; his coloring was 
brilliant, from the superposition of pure color on his canvas, unblended 
on his palette. His work shows solidity in painting, firmness of construc- 
tion, and a rendering that stamps him as a draughtsman of unusual ability. 

While giving the finishing touches to one of his last portraits—that of 
John Grigg—Neagle was stricken with paralysis, from which he never 
recovered. He continued to paint for several years, but he complained of 
his inability to carry out his conceptions. ““My mind is as clear as ever,” 
he would say, “I know exactly what to do, but my hand is slow and 
awkward to execute.”? The shadows were slowly but surely gathering 
about the great artist. He died in Philadelphia, September 17, 1865. 

Neagle did for posterity that which if other artists had done, they would 
have received blessings today: he nearly always made a careful record 
on the back of his portraits, of the name of his sitter, the place, date, 
number of sittings and such details that are now invaluable to collectors. 


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PLAN OF THE ACADEMY GALLERIES 


This Exhibition occupies North Corridor, H, G, North 


Transept and F. 


16 


NORTH CORRIDOR 


No. I. MARSHALL S. PIKE. 


Composer and writer of songs. Wrote ‘‘Home Again from a Foreign 
Shore.”’ Travelled through the country with concert companies. 

Half length; seated with arm resting on back of chair; head to left; black 
coat and buff waistcoat. 


Size of canvas, 27” x 34”. 


Loaned by Mr. J. E. McClees, of Philadelphia. 


19 


No. 2. JOHN WILLIAM WALLACE. (1815-1884). 


John William Wallace was a famous Philadelphia lawyer and writer on 
legal matters. He was born in Philadelphia in 1815 and died there in 1884. 
He graduated from the University of Pennsylvania in 1833, and studied 
law in Philadelphia and in the Temple, London. From 1860 to 1884 he was 
President of The Historical Society of Pennsylvania. He lived and had 
his office for some time at 92 now 208 South 4th Street. 

Oval canvas. Bust; head to right; dark hair and side whiskers; black 
coat and stock. 


Size of canvas, 241%” x 30”. 


Loaned by Mr. John Frederick Lewis, of Philadelphia. 


20 


No. 3. REV. SAMUEL W. CRAWFORD, D.D. (1793-1876). 


Bust; head to left; seated in red chair, holding book in hand. (For other 
portrait, see sketch No. 33.) 


Size of canvas, 25” x 30”. 


Loaned by his granddaughter, Mrs. E. B. Wiestling, of Chambersburg, 
Pennsylvania. 


21 


No. 4. REV. DR. JAMES ALEXANDER. (1772-1851). 


Educator and Presbyterian Divine was born in Virginia, April 17, 1772, 
and died in Princeton, New Jersey, October 22, 1851. In 1807 he became 
pastor of the Pine Street Presbyterian Church of Philadelphia which is 
still standing on the south side of Pine Street above Fourth. Upon the 
organization of the theological seminary at Princeton in 1812, Dr. Alexander 
was unanimously chosen as the leading professor. This portrait was 
painted at Princeton. 

Half length; seated on a gray upholstered chair; head to left and resting 
on right hand; brown hair; brown coat with deep rolling collar; black 
waistcoat; white neck cloth; red curtain in left background. 


Size of canvas, 25” x 301%”. 


Loaned by Mr. A. Reed McIntyre, of Ardmore, Pennsylvania. 


22 


No. 5. THE REV. HENRY B. BASCOM. (1796-1850). 


Was born in 1796 and died in 1850. Chaplain to Congress. Bishop of 
the Methodist Church South. ‘‘At one period he was unquestionably 
the most popular pulpit orator in the United States.’’ An inscription 
on the back of the canvas reads: ‘‘The original portrait of the Rev. Henry 
Bidelman Bascom of the Methodist Church, Maysville, Kentucky. Painted 
in New York by John Neagle, August 5, 1826.” 

Bust; head to right; black coat; high white collar and stock. 

It was painted for James Barton Longacre, Engraver (1794-1869). When 
unable to make a drawing from life, and other suitable likenesses were 
not available, it was Mr. Longacre’s custom to have portraits painted 
for the purpose of engraving them. This one has remained in his family. 


Size of canvas, 2834” x 24”. 


Loaned by his granddaughter, Mrs. John M. Cornell, of New York. 


23 


No. 6. HENRY CLAY. 


Bust; head to left. (For biographical sketch see No. 103 and other por- 
traits see Nos. 103 and 108.) 


Size of canvas, 25” x 301%”. 


Loaned by Mr. John Frederick Lewis, of Philadelphia. 


24 


No. 7. HON. WILLIAM SHORT. (1759-1840). 


Born in Surry County, Virginia; died in Philadelphia; Member Executive 
Council of Virginia; Secretary of Legation to France, 1784, and Chargé 
d’ Affaires, 1789, holding such under the first commission signed by Washing- 
ton as President; afterwards Minister to the Netherlands and Spain. His 
state papers, especially those relating to the Spanish negotiations concern- 
ing the Florida and Mississippi boundaries, are marked by ability and 
research. 

Painted in 1839 and presented by the painter to the Pennsylvania Colo- 
nization Society. 

Bust; head to right; brown hair; dark coat and dark stock. 


Size of canvas, 22” x 2614”. 


Loaned by The Historical Society of Pennsylvania, Philadelphia. 


25 


No. 8. DR. JOHN ABRAHAM ELKINTON. (1801-1853). 


Distinguished physician; born and died in Philadelphia; was graduated 
at Medical School, University of Pennsylvania, 1822. Owned and held 
under the title, Pére La Chaise, the tract of land bordering on Broad 
Street, between Montgomery Avenue and Diamond Street, which, in 1838, 
was incorporated as Monument Cemetery. 

Painted by John Neagle in 1840. Half length; seated on red chair; head 
to left; brown hair; side whiskers; dark coat with deep rolling collar; 
black satin waistcoat; black satin stock; right arm resting on end of a book 
with the hand holding a scroll from a ground plan; through window on 
the right is a cemetery with monuments. 


Size of canvas, 2514” x 30”. 


Loaned by Miss Margaretta Elkinton, of Ardmore, Pennsylvania. 


26 


No. 9. JULIUS R. FRIEDLANDER. 


Was born in Germany; he came to Philadelphia in 1832 with letters of 
introduction to the first citizens of Philadelphia; there he met Mr. John 
Vaughan and became interested in the instruction and care of the blind. In 
1833 he became principal instructor of the Pennsylvania Institution for the 
Instruction of the Blind. 

Full length; head to right; brown hair and side whiskers; black stock; 
brown, tight-fitting, long coat; light, close-fitting trousers strapped under 
foot; right hand pointing to sheet of music; left hand holding a book; 
table with books and music on the left; globe and manuscript at the right; 
column at the right and landscape at the left. 


Size of canvas, 54” x 7134”. 


Loaned by the Pennsylvania Institution for the Instruction of the Blind 
Overbrook, Philadelphia. 


27 


No. Io. CHIEF JUSTICE GEORGE SHARSWOOD. 
(1810-1883). 


The most eminent common law jurist Pennsylvania has produced, and a 
voluminous contributor to the literature of the law; born and died in Phila- 
delphia. A graduate of the University of Pennsylvania, 1828; admitted to 
the Bar, 1831; Vice-provost of the Law Academy of Philadelphia, 1835 to 
1853, and Provost from that time until his death; member of the Legisla- 
ture, 1837, 1841-1842; Associate Justice, District Court of Philadelphia, 
1845-1848; President Judge, 1848-1868; Justice of Supreme Court of 
Pennsylvania, 1868-1879; Chief Justice, 1879-1882; President of the 
Pennsylvania Institution for the Deaf and Dumb. 

This portrait was painted on the order of The Law Association of Philadel- 
phia and is the artist’s last picture, Neagle having been stricken with pa- 
ralysis shortly before its completion. 

Half length; seated in red chair; head to left; holding a book in hand. 


Size of canvas, 25” x 30”. 


Loaned by The Law Association of Philadelphia. 


28 


29 


No. 11. REV. GREGORY TOWNSEND BEDELL. 
(1793-1834). 


An Episcopal clergyman who founded St. Andrew’s Church, Philadel- 
phia. He was born in Staten Island, New York, in 1793 and died in Balti- 
more, Maryland, in 1834. He acquired great popularity as a preacher. His 
portrait was painted in 1833 when he was in his forty-first year. 

Bust; clerical robes; painted in oval, nearly full face. (For other portrait 
see No. 113.) 


Size of canvas, 2134” x 261%”. 


Loaned by The Historical Society of Pennsylvania, Philadelphia. 


No. 12. JOHN ALEXANDER. (1805-1895). 


Philadelphia merchant, many years President of the Philadelphia Sabbath 
Association. 
Bust; head to left. 


Size of canvas, 25” x 30”. 


Loaned by Mr. Lucien Hugh Alexander, of Washington, D. C. 


30 


No. 13. WILLIAM CUMMINGS. (1806-18809). 


Son of George Cummings, 1759-1807, by his wife, Elizabeth Tate, 1761- 
1807, married Emily Richardet Alexander, 1805-1847, in 1831 at St. 
Paul’s Church, Philadelphia. 

A well-known Philadelphia merchant, extensively engaged in the shipping 
business. He was a vestryman of St. Paul’s Protestant Episcopal Church, 
Third Street below Walnut, where he is interred; a director of the Girard 
National Bank, the Commercial Exchange Association, Insurance Com- 
pany of North America, the Howard Hospital and other financial and 
philanthropic institutions, and a prominent Mason. 

Half length; seated; head to left; dark blue coat with brass buttons and 
buff waistcoat. In background a sailing packet is shown under full sail. 


Size of canvas, 25” x 3014”. 


Loaned by Mr. Norris S. Barratt, Jr., of Philadelphia. 


dl 


No. 14. CAPTAIN JOHN THOMPSON. 


Of the United States Navy. 
Bust; head to right; holding spy-glass in hand. 


Size of canvas, 25” x 30%". 


Loaned by Mr. John F. Braun, of Philadelphia. 


No. 15. MR. WHITE. 


Seated; half length; holding book in hand; head to left; white collar 
and stock; red curtain in background. 


Size of canvas, 25” x 30”. 


Loaned by the Ehrich Galleries, of New York City. 


No. 16. WILLIAM MACKENZIE. (1758-1828). 


An English gentleman who was interested in the success of the Library 
Company of Philadelphia, and presented it with many valuable vol- 
umes. He was born in 1758 and died in 1828. John Neagle never saw his 
subject and painted the portrait in 1829, from information furnished by 
the family. 

Half length; seated in red upholstered chair, with hands resting on open 
book; gray coat; white stock and yellow waistcoat. 


Canvas size, 29%" x 365%”. 
) 


Loaned by the Library Company of Philadelphia. 


32 


No. 17. THOMAS SPARKS. (1785-1855). 


Philadelphia manufacturer. Member of the firm Cousland, Bishop and 
Sparks, shot makers and proprietors of the Southwark shot tower, on 
John Street, between Front and Second Streets, in 1808, the firm name 
eventually becoming Thomas & Thomas Sparks, Jr.; was a Commissioner 
to superintend the erection of the Eastern Penitentiary; director of 
various railroads and insurance companies, and many years President of 
the Southwark Bank. He never married. 

Painted by John Neagle in 1821. Half length; seated on red chair; head to 
left; black coat; white neck cloth; hand thrust into the coat; head and 
neck of a hunting dog in foreground; landscape with tall tapering tower 
in the left background. 


Size of canvas, 2454” x 2934”. 


Loaned by Mr. and Mrs. Thomas Sparks, of Stonehurst, Pennsylvania. 


33 


No. 18. CHARLES NICHOLAS BUCK. (1775-1851). 


Born in Hamburg; died in Philadelphia; descended from a Danish fam- 
ily of distinction. He came to Philadelphia, in early manhood, as Consul- 
General of the Free City of Hamburg; attained success as a merchant 
and was President of the Columbia Insurance Company of Philadelphia. 
He married Elizabeth, daughter of Robert Smith, merchant and member 
of the First Troop -Philadelphia City Cavalry. 

Bust; full face; with large black cravat and black coat. 


Size of canvas, 2014" x 24”. 


Loaned by his great-great-granddaughter, Mrs. T. Wistar Brown, 3rd, 
of Overbrook, Pennsylvania. , 


34 


No. 19. CHIEF JUSTICE WILLIAM TILGHMAN. 
(1756-1827). 


Born in Talbot County, Maryland; died in Philadelphia. Studied law 
in Philadelphia, under Benjamin Chew; Chief Justice, U. 5. Circuit 
Court for Pennsylvania, 1801; Chief Justice of Pennsylvania, 1806-1827: 
President of the American Philosoph‘cal Society, 1824-1827. 

After portrait by Rembrandt Peale. Bust; head to left; dark hair; dark 
coat and soft white jabot. 


Size of canvas, 25%” x 30%”. 


Loaned by The Law Association of Philadelphia. 


7 


GALLERY H 


No. 20. REV. MARTIN LUTHER HURLBUT. (1780-1843). 


Unitarian divine and teacher; born in Southampton, Massachusetts; died 
in Philadelphia; was graduated at Williams College, 1804; long resident 
at Charleston, South Carolina, and some time at Philadelphia, but pre- 
viously preached at Portland, Maine. 

His son, Major-General Stephen Augustus Hurlbut (1815-1882), a dis- 
tinguished officer in the Civil War, was minister resident to the United 
States of Columbo, 1869-1872; member of Congress, 1873-1877; minister 
to Peru, 1881. Another son, William Henry Hurlbut, journalist, was 
editor-in-chief of the New York World, 1876-1883, author of a ‘History 
of Santo Domingo,” “General McClellan and the Conduct of the War,” 
and other works including hymns and poems. A third son, George 
Canning Hurlbut, was also a journalist of some note. 

Painted by John Neagle in Philadelphia, December, 1840. 

Bust; painted in oval; black coat and white stock. 


Size of canvas, 21” x 26”. 


Loaned by the Cleveland Museum of Art, Cleveland, Ohio. 
39 


No. 21. THOMAS HILSON. (1784-1834). 


Actor, born in England in 1784, he died in Louisville, Kentucky, in 1834. 
Painted in the character of ‘‘Tyke”’ from the play of “The School of 
Reform.” His first appearance in America was in the Park Theatre, 
New York, in 1809. His forte was said to have been low comedy. 
Bust; head to left; in costume. (For other portrait see No. 72.) 


Size of canvas, 22” x 27”. 
Presented to the Summer School of The Pennsylvania Academy of the 


Fine Arts at Chester Springs, Chester County, Pennsylvania, by Mr. John 
Frederick Lewis. 


40 


No; 22. MRS. JOHN RODNEY. (1800-1889). 
(SARAH DUVAL.) 


Daughter of James S. Duval, merchant, of Philadelphia, and wife of 
Rev. John Rodney, rector of St. Luke’s Episcopal Church, Germantown, 
1825-1868; rector emeritus, 1868 until his death. No other clergyman in 
the Diocese of Pennsylvania was so long connected with one parish. 
Half length; head to right; dark hair; low-necked black gown; neck filled 
in with white lace; book in right hand. 


Size of canvas, 2478” x 2934”. 


Loaned by Mrs. M. C. Hutchinson, of Woodbury, New Jersey. 


41 


No. 23. HON. WILLIAM MILNOR. (1769-1848). 


Son of William Milnor by his wife, Anna Breintnall; born in Philadelphia; 
died in Burlington County, New Jersey. Member of Congress, 1807- 
1811, 1815-1817, 1821-1822; Mayor of Philadelphia, 1829-1831. Author 
of “History of the State in Schuylkill.” 

Portrait painted in 1825. 

Bust; head to left; curtain in background. 


Size of canvas, 255%” x 3054”. 


Loaned by Mr. Jonce J. McGurk, of New York City. 


42 


No. 24. WILLIAM EDMUND HORNER. (17093-1853). 


Physician, born in Warrenton, Virginia, in 1793; died in Philadelphia 
March 13, 1853. He received his degree from the University of Penn- 
sylvania in 1814. Heafterwards served as surgeon throughout the War of 
1812. Upon the retirement of Doctor Physick, Horner was called to occupy 
the Chair of Anatomy at the University of Pennsylvania. 

Three-quarter length; standing; right hand resting on table; column in 
background; anatomical drawing on easel. 


Size of canvas, 40” x 50”. 


Loaned by the University of Pennsylvania. 


43 


No. 25. JUNIUS BRUTUS BOOTH. (1796-1852). 


The actor, was born in London in 1796 and died November 3, 1852. He 
came to the United States in 1821; his first appearance in New York was 
at the Park Theatre on October 5, 1821. 

This portrait of the great actor shows him in the character of Sir Edward 
Mortimer, in the “Iron Chest.” It was painted by John Neagle a few days 
after Booth’s arrival in this country and was exhibited at The Pennsylvania 
Academy of the Fine Arts in the year 1825. 

Bust; nearly full face; in costume. 


Size of canvas, 25” x 30”. 
Loaned by Mr. Albert Rosenthal, of Philadelphia, 
(NotE—It is interesting to record that the artist exhibited this portrait 
at The Pennsylvania Academy of the Fine Arts exactly one hundred years 


ago, and that the present owner of the picture allows it again to be shown 
after its many wanderings.) 


44 


No. 26. ROBERT HARE. (1781-1858). 
Scientist, born in Philadelphia, 1781, died there in 1858. Professor of 
Chemistry at the University of Pennsylvania. This portrait was painted 
by John Neagle in 1858 and was finished after his death by I. L. Williams 
in 1877. 

Bust; head to left; black stock. 


Size of canvas, 25” x 30”. 


Loaned by the University of Pennsylvania. 


45 


No. 27. MATHEW CAREY. (1760-1839). 


A distinguished publisher, bookseller and writer, born in Dublin, Ireland, 
January 28, 1760. He came to Philadelphia in 1784 having learned the 
trade of printing in the old country. He founded the Pennsylvania Herald 
in 1785 and published the American Museum from 1787 to 1793. In all 
political affairs he took a prominent part; he was also the publisher of many 
pamphlets advocating a protective tariff. He was the father of Edward L. 
Carey, fourth President of The Pennsylvania Academy of the Fine Arts, 
and of Henry C. Carey. Mathew Carey died in Philadelphia, September 
16, 1839. His portrait was painted April, 1825, by John Neagle, when Carey 
was in his sixty-fifth year. A copy of this portrait was presented to the 
Library Company of Philadelphia by Henry Carey Baird, his grandson, as 
the elder Carey was active and interested for many years in the affairs of 
the Library. 
Bust; head to left. 
Size of canvas, 25” x 30”. 


Loaned by his great-granddaughter, Mrs. Howard Gardiner, of Philadelphia. 
46 


No. 28. PENDLETON GAINES WATMOUGH. 
(1828-1911). 

He was born in 1828; he entered the Navy in 1841 at the age of thirteen. 

This portrait was painted by John Neagle at that time. 

Bust; head to left; wearing a uniform with brass buttons and gold anchor 


on collar. 
Size of canvas, 17” x 20”. 


Loaned by Mr. Pendleton Gaines Watmough, Jr., of Philadelphia. 


47 


No. 29. REV. JOHN ALBERT RYAN. (1774-1852). 


A noted clergyman and scholar. John Neagle painted this portrait in 
Philadelphia in 1829. 
Bust; head to left; ruddy complexion and gray hair; black coat and 
white stock. 

Size of canvas, 25” x 30”. 


Loaned by Mr. A. T. Bay, of New York City. 


48 


No. 30. ‘“PENSIONER OF THE REVOLUTION.” 

This painting has also been known as ‘‘ Patriotism and Age.” 

Half length; head to right; white hair and beard; tattered coat; a staff 
in the right hand and tattered hat in the left hand. (For other portrait see 
No. 70.) 


Size of canvas, 2434" x 297%”. 


Loaned by the Sears Academy of Fine Arts, of the Elgin Academy, Elgin, 
Illinois. 


49 


No. 31. MRS. JOHN DICKSON. (1783-1836). 
(AMY TAYLOR.) 


Born in Burlington County, New Jersey; died in Philadelphia. Married 
July 4, 1800, John Dickson, a native of Scotland and merchant of 
Philadelphia. bead 
This portrait was painted in Philadelphia in 1834. 

Half length; seated with black gown and white lace shoulder collar and lace 
cap with long strings. 


Size of canvas, 25%" x 30”. 
’ 4 4 


Loaned by Mr. A. T. Bay, of New York City. 


30 


No. 32. HENRY BARRETT. (1795-1845). 


Born in Philadelphia; died at sea. 
Bust; head to right; coat with brass buttons; black stock and white collar. 


Size of canvas, 31” x 36”. 


Loaned by Miss A. Margaretta Archambault, of Philadelphia. 


51 


No. 33. REV. SAMUEL W. CRAWFORD, D.D. 
(1793-1876). 


Born in Charleston, South Carolina; died near Chambersburg, Pennsyl- 
vania; was graduated, University of Pennsylvania, 1816; A.M., 1832; 
D.D., Indiana University, 1844. Entered the ministry of the Reformed 
Presbyterian Church; ordained, 1823, and officiated in Franklin County, 
Pennsylvania, between 1824 and 1830; was Principal of Academical De- 
partment of the University of Pennsylvania, 1830 to 1853; and pastor of 
the Fairmount Presbyterian Church, Philadelphia, 1835-1846. He also 
filled the Chair of Church History and Pastoral Theology in the Theo- 
logical Seminary of his faith, and, for some time, the Professorship of 
Divinity, succeeding his uncle, Rev. Samuel Brown Wylie, D.D. 
Painted in 1846. Full face; dark hair and side whiskers; dark coat and 
white stock. (For other portrait, see No. 3.) 


Size of canvas, 25” x 30”. 


Loaned by his granddaughter, Mrs. E. B. Wiestling, of Chambersburg, 
Pennsylvania. 


52 


53 


No. 34. DANIEL WEBSTER. (1782-1852). 


Statesman was born in Salisbury, New Hampshire, January 18, 1782, and 
died in Marshfield, Massachusetts, October 24, 1852. In 1822 Mr. Webster 
was elected to Congress from the Boston District, he was appointed Chair- 
man of the Judiciary Committee in 1823 by the speaker, Henry Clay. On 
President Taylor’s death in 1850, Mr. Webster became President Fillmore’s 
Secretary of State. 

This portrait was painted by John Neagle; it is a three-quarter length; 
seated; head to left; and hangs in the Capitol Building, at Washing- 
resale) ORAS, 

Size of canvas, 4014" x 5014”. 


Loaned by the United States Government. 


54 


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No. 35. ROBERT MASKELL PATTERSON. (1787-1854). 


Physician; born, 1787; died, 1854; graduated at the University of Pennsyl- 
vania in 1804, and from the Medical Department in 1808. He studied the 
physical sciences in Paris, 1809-1810 and in 1811; completed his education 
as a chemist under Sir Humphry Davy, in London. Returned to Philadel- 
phia in 1812, and was chosen professor of natural philosophy, chemistry and 
mathematics in the University of Pennsylvania. He was appointed Director 
of the United States Mint, which post he held until 1851. President of 
the American Philosophical Society, 1849. One of the founders of The 
Franklin Institute of Philadelphia. 

Bust; head to right; black coat and stock. 


Size of canvas, 3914” x 34%”. 


Loaned by Mr. Thomas Robins, of Philadelphia. 


55 


No. 36. MRS. WILLIAM MILNOR. (1773- ie 


Neé Margaret Purves, born August 10, 1773, and married August 10, 1792. 
Bust; head to left; in Quaker costume, wearing white shawl and folded 
kerchief. 

Size of canvas, 25” x 30”. 


Loaned by Miss Eleanor Whittlesey Kotz, of New York City. 


56 


No. 37. WILLIAM CROOK RUDMAN. 


Was born in England, and came to this country in the first half of the 
nineteenth century and established the Eagle Brewery in Philadelphia 
at Third and Race Streets. He became a citizen and was noted for his 
philanthropy. This portrait was painted by John Neagle in 1845. (See 
Neagle Biography.) 

Size of canvas, 2914” x 2414”. 


Presented to the Summer School of The Pennsylvania Academy of the 


Fine Arts at Chester Springs, Chester County, Pennsylvania, by Mr. John 
Frederick Lewis, of Philadelphia. 


57 


No. 38. WASHINGTON IRVING. (1783-1859). 


Born in New York in 1783; he died at Sunnyside near Tarrytown, New 
York, in 1859. A note on this well-beloved and engaging writer would be 
almost as gratuitous as an elementary biography of the very distinguished 
American whose name he shared. 

Washington Irving, in John Neagle’s portrait, is shown in a thoughtful 
mood and yet the features express characteristic geniality. 


Size of canvas, 25” x 30’. 


Loaned by Mr. John Frederick Lewis, of Philadelphia. 


58 


No. 39. JOHN STILLE. (1767-1842). 


He was born October 4, 1767, and died December 5, 1842. His first 
ancestor in America was Olof Stillé who came from Sweden to Pennsyl- 
vania. One of the most prominent men of the Swedish settlement where 
Media now stands. The present Ridley Creek was originally ‘‘Olof’s Creek.”’ 
His father was John Stillé (1739-1802); his grandfather was Morten Stillé 
(1704-1753). His great-grandfather was John Stillé (1646-1722) and his 
great-great-grandfather was Olof Stillé who died about 1690. 

Bust; seated in red upholstered chair; head to right; white stock and collar. 


Size of canvas, 25” x 354". 


Loaned by Mrs. Ferree Brinton, of Philadelphia. 


59 


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No. 40. : PATRICK LYON. (1779-1829). 
(PAT LYON.) 


Bust; brown coat; collar open at the neck. (For biographical sketch see 


No. 106.) 
Size, 1614” x 21” on wood panel. 


Presented to The Historical Society of Pennsylvania, Philadelphia, by 
Mr. John Frederick Lewis. 


63 


No. 41. CAPTAIN WILMON WHILLDIN, JR. (1804-1866). 


Studied medicine at the University of Pennsylvania, from which he 
graduated in 1827. Practised but a few years and then engaged in the 
steamboat business with his father. He continued the line of steamers to 
Cape May until the Civil War when most of his boats were employed 
by the United States Government. At his decease had large interests in 
steam navigation in which he was associated with the late Thomas P. Clyde. 
Bust; head to left; black coat with brass buttons with gray waistcoat; 
landscape seen through window in background. 


Size of canvas, 2434” x 2934”. 


Loaned by a daughter, Mrs. William D. Summers, of Baltimore, Maryland. 


64 


No. 42. MRS. SAMUEL W. CRAWFORD. 


Neé Jane Agnew. Her sons, Rev. John Agnew Crawford, D.D., Captain 
Alexander McLeod Crawford, and Brigadier-General Samuel Wylie 
Crawford, were distinguished in their respective callings. 

Half length; seated; nearly full face; with arm over back of chair. Large 
white collar and black dress. 


Size of canvas, 25” x 30”. 


Loaned by her granddaughter, Mrs. E. B. Wiestling, of Chambersburg, 
Pennsylvania. 


65 


No. 43. WILLIAM MCILHENNEY, JR. (1779-1854). 


Librarian of the Athenzeum of Philadelphia, 1820-1854; was graduated at 
the University of Pennsylvania, 1797; admitted to the Philadelphia Bar 
in 1800; a man of scholarly attainments and wide information. This por- 
trait was painted upon the order of the Athenzeum after his death, by 
John Neagle, in 1855. 

Bust; head to right; holding a magazine. 


Size of canvas, 25” x 30”. 


Loaned by The Athenzeum of Philadelphia. 


66 


No. 44. JAMES FENIMORE COOPER. (1789-1851). 


The author, was born in Burlington, New Jersey, on September 15, 1789. 
Soon after the conclusion of the Revolutionary War, his father became the 
owner of a tract of land in New York State, and laid: out the site of 
Cooperstown on Otsego Lake. In 1803 he entered Yale, but his love for 
out-door life brought on a controversy with the college authorities, which 
resulted in his being expelled. Young Cooper did not linger long at home, 
and as the merchant marine offered the surest stepping-stone to a com- 
mission, he shipped as a sailor before the mast. In 1808 he reported to 
the Commander at New York for duty as a midshipman, and in 1809 he was 
ordered to the Wasp under the command of Captain James Lawrence. 
His literary life began some ten years later, after his marriage to the 
daughter of John Peter De Lancey, of Westchester County, New York. 
Bust; head to right. 

Size of canvas, 25” x 30” (Oval). 


Loaned by The Corporation of Yale University, New Haven, Connecticut. 
67 


No. 45. NATHANIEL BURT. (1770-1850). 


Born, 1770, at Belfast, Ireland, of Scotch-Irish Ancestry. Owing to a rebel- 
lion in 1801 he came to America and engaged in the fur trade in the then 
far west, establishing many trading posts. In 1833 he bought a residence 
at 12th and Walnut Streets, Philadelphia, where he died March 12, 1850. 
Portrait of Nathaniel Burt painted for his son, Nathaniel, Jr. 

Bust; head to right; red background. 


Size of canvas, 25” x 30”. 


Loaned by The Misses Burt, of Philadelphia. 


68 


No. 46. CAPTAIN WILMON WHILLDIN. (1773-1852). 


Was one of the pioneers in steam navigation on the Delaware River. He 
was born in Cape May, New Jersey, on the fourth of March, 1773, and died 
in Philadelphia, April 2, 1852. 

In 1810 he was part owner of a packet line, running between Philadelphia 
and New Castle. The steamship Delaware was built for him, and when 
his portrait was painted by John Neagle in 1823 it was introduced in the 
background of the picture. 

Half length; seated; head to left; brown hair and side whiskers; dark 
coat with deep rolling collar; white stock with jabot; seascape with side 
view of steamer in the left background. 


Size of canvas, 25” x 30”. 


Loaned by a great-granddaughter, Miss A. Adele Leach, of Philadelphia. 


69 


No. 47. MRS. WILMON WHILLDIN. (1776-1815). 


Daughter of Lieut. John Galloway, of Philadelphia, and his wife, Mary 
Harrison. Married to Captain Whilldin, 1796. 
Half length; seated on tan-colored chair; head to right; wearing thin 
white cap with white ribbons; low-cut black gown filled in with transparent 
white material. 

Size of canvas, 25” x 30”. 


Loaned by a great-granddaughter, Miss A. Adele Leach, of Philadelphia. 


70 


ii 


No. 48. GEN. HENRY DEARBORN. (1751-1829). 


Was born in 1751 and died in 1829. He served with distinction through- 
out the Revolution and took part in the Battle of Bunker Hill where he 
covered the retreat of the American Forces; he accompanied Benedict 
Arnold’s Exposition to Canada. President Jefferson appointed him Secre- 
tary of War. 

This head was copied by John Neagle from the celebrated portrait of 
General Dearborn, painted by Gilbert Stuart, for many years the property 
of Mr. Herbert Welsh of this city and now owned in Chicago. 


Size of canvas, 17” x 21”. 


Loaned by Mr. John Frederick Lewis, of Philadelphia. 


72 


No. 40. GILBERT STUART. (1755-1828). 


This great portrait painter was born near Wickford, Rhode Island, on 
December 3, 1755, and died in Boston, Massachusetts, on July 27, 1828. 
John Neagle’s portrait shows the artist as an old man, with a pleasing 
and rather kindly expression which is fortunate when we remember Stuart’s 
irascible temper. 

Painted at Boston, Massachusetts, in 1825. Bust; head to left; gray hair; 
dark coat; white neck cloth. 

(See life of Neagle, page 7, for description of the painting of this portrait.) 


Size of canvas, 22” x 261%”. 


Loaned by The Historical Society of Pennsylvania, Philadelphia. 


73 


No. 50. THOMAS BIRCH. (1779-1851). 


The artist, was born in London, England, about 1779, he died in Phila- 
delphia, Pennsylvania, January 14, 1851. 

He emigrated to the United States in 1793 and established himself in 
Philadelphia about 1800 and began the painting of portraits. 

Through a chance visit to the Delaware capes, Birch became interested in 
the sea and in shipping, and after 1806, practically abandoned portraiture 
to devote himself to marine painting. His paintings of the naval engage- 
ments of the War of 1812, are much better known now than his portraits 
and for that reason when John Neagle represented Birch in this portrait 
he placed on the painter’s easel one of Birch’s ship pictures. These were 
his chosen subjects and in them he stands unrivalled in our country today. 
This portrait was painted by John Neagle in 1836. 

Half length; head to right; palette and brushes in left hand; dark coat, 
white stock; seascape in right background. (For other portrait see No. 56.) 


Size of canvas, 25” x 30”. 


Presented to The Pennsylvania Academy of the Fine Arts for its gallery 
of artists by Mr. John Frederick Lewis, of Philadelphia. 


74 


75 


No. 51. MRS. THOMAS TUCKER SMILEY. 
(1797-1859). 

Neé. Sarah Loud, daughter of Thomas Loud, of London, England, by his 

wife, Esther Hawkins. 


Bust; head to left; low-necked black dress trimmed with lace; pearl neck- 
lace. Portrait painted by John Neagle in 1825. 


Size of canvas, 25” x 30”. 


Loaned by her grandson, Dr. Thomas G. Ashton, of Wynnewood, Penn- 
sylvania. 


76 


No. 52. DR. THOMAS TUCKER SMILEY. 
(1795-1879). 

Eminent Philadelphia physician; a graduate of the Medical School, Uni- 

versity of Pennsylvania, 1831; surgeon in the Civil War. 


Bust; nearly full face; dark coat; holding papers in his hand. Portrait 
painted by John Neagle in 1825. 


Canvas size, 25” x 30”. 


Loaned by his grandson, Dr. Thomas G. Ashton, of Wynnewood. Penn- 
sylvania. 


(mt 


No. 53. REV. JASON WHITMAN. (1799-1848). 


An eminent Unitarian divine was born in Bridgewater, Massachusetts, 
in 1799; he died in Lexington, Massachusetts, in 1848. 

He was graduated from Harvard in 1825, studied theology, and was pastor 
of several Unitarian Churches in the State of Maine. 

Bust; head to left; ecclesiastical robes. 


Size of canvas, 25” x 2934”. 


Loaned by the Ehrich Galleries, of New York City. 


78 


No. 54. WILLIAM GIBSON. (1788-1868). 


Surgeon, born in Baltimore, Maryland, in 1788; he died in Savannah, 
Georgia, in 1868. He graduated from Princeton in 1806; he took his medical 
degree at the University of Edinburgh. In 1819 he succeeded Doctor 
Physick in the Chair of Surgery at the University of Pennsylvania, where 
he remained more than thirty years. 

Three-quarter length; standing; head to left; with column in background. 


Size of canvas, 4034” x 501%”. 


Loaned by the University of Pennsylvania. 


79 


No. 55. “RED JACKET.” 
Portrait of Indian Chief. Bust; head to right; wearing large Government 
Medal. . 


Size of canvas, 25” x 30”. 


Loaned by The Historical Society of Pennsylvania, Philadelphia. 


80 


No. 56. THOMAS BIRCH. (1779-1851). 


Artist. Half length; holding crayon and portfolio. Column in back- 
ground and beyond a marine painting showing a ship in distress. Black 
coat; head to left; gold spectacles, and high collar and stock. (For 
biographical sketch see No. 50.) 


Size of canvas, 25” x 30”. 


Loaned by the Ehrich Galleries, of New York. 


81 


No. 57. MRS. ELIZABETH STERRITT WASHINGTON. 


Daughter of Edward Crawford (1758-1833), original member of The 
Society of the Cincinnati; first president of what is now the First National 
Bank of Chambersburg, Pennsylvania, 1807-1833. Mr. Crawford married 
as second wife, Rebecca Calhoun. Their daughter, Elizabeth Sterritt, 
married Reade Washington, Esq., of Clarke County, Virginia. Mrs. 
Washington’s half-brother, Thomas Hartley Crawford (1786-1863), 
attained eminence as a lawyer; was a member of Congress, 1829 to 1833; 
Secretary of Indian Affairs under Jackson, and afterwards Judge of the 
District Court, Washington, D. C. 

Bust; nearly full face; wearing bonnet with pink strings. 


Size of canvas, 25” x 30”. 


Loaned by her granddaughter, Mrs. E. B. Wiestling, of Chambersburg, 
Pennsylvania. 


82 


No. 58. ANDREW WALLACE. (1'730-1835)- 


Sergeant Wallace was born in Inverness, Scotland, in 1730, and came to 
America in 1752. He entered the Revolutionary Army in April, 1776, in 
Chester County, Pennsylvania. Wallace served under Anthony Wayne and 
attained the rank of sergeant, which he held to the end of the war. It is said 
that he had his hands so badly frost-bitten crossing the Delaware with 
Washington that he was forced to wear gloves during the remainder of his 
life. John Neagle said he painted this portrait when Sergeant Wallace was 
in his one hundred and first year. He died in New York in 1835. 

Bust; full face; with hands resting on cane. 


Size of canvas, 25” x 30”. 


Loaned by Mr. Herbert Lee Pratt, of New York City. 


83 


No. 59. PATRICK HAYES. (1770-1856). 


Nephew of Commodore Barry; born in Ireland; died in Philadelphia; 
followed the pursuits of sea captain and merchant; member of the Society 
for the Relief of Masters of Ships, 1797; Harbour-Master of Philadelphia, 
1842, and Master Warden, 1843-1849; succeeded Commodore Barry in 
the State Society of the Cincinnati; buried in St. Mary’s Catholic Ceme- 
tery, on Fourth Street above Spruce, with his wife, Elizabeth, daughter 
of William Keen, 1764-1853. 

Bust; head to right; light brown hair and side whiskers; dark coat with 
deep rolling collar; white neck cloth. 


Size of canvas, 25” x 3044”. 


Loaned by Mr. Barry Hayes Hepburn, of Philadelphia. 


84 


NORTH TRANSEPT 


No. 60. JOHN FORRESTER FOOTE. 

Painted in the character of ‘‘ Dr. Canwell”’ from the play of ‘‘The Hypo- 
crite,’’ by Isaac Beckerstaff. His first appearance in New York was at the 
Park Theatre in 1822. 

Bust; head to left; painted in 1826. 


Size of canvas, 2114” x 26”. 


Loaned by The Players of New York City. 


87 


No. 61. MARY HOLMES. 


Child seated on pink cushion, holding hat and flowers in hand. Land- 
scape in background. 


Size of canvas, 29 1%” x 36”. 


Loaned by Mr. John F. Braun, of Philadelphia. 


88 


No. 62. HEAD OF INDIAN BOY. 
Bust; with red. blanket. 
Size of canvas, 1634” x 1834”. 


Loaned by Mrs. Samuel Hinds Thomas, of Philadelphia. 


89 


No. 63. EMILY PLATT. (1817-1875). 
(MRS. DAVID PEPPER.) 


Daughter of William and Maria (Taylor) Platt, and granddaughter of 
John Platt, Revolutionary officer, Colonel Thomas Hall’s regiment, 
Delaware Continental Line. Of her two sons, William Platt Pepper, Esq., 
was many years president of the Pennsylvania Museum and School of 
Industrial Art, a founder of the Art Club, and an organizer of the Charity 
Ball, and David Pepper, the compiler of ‘‘Notes on the Ancestry of 
John, Platte. 

Bust; head to left; brown hair; side curls; low-necked light-colored gown. 


Size of canvas, 17” x 205%”. 
’ 


Loaned by Mrs. Alfred Stengel, of Philadelphia. 


90 


No. 64. MRS. WILLIAM SWAIM AND DAUGHTER ELISA 
(LATER MRS. OLIVER HOPKINSON). 


Painted by John Neagle. Half length; seated; holding child in lap with 
basket of flowers. Mrs. Swaim wears a black dress with point lace collar 
and cap. 

Size of canvas, 28” x 36”. 


Loaned by The Historical Society of Pennsylvania, Philadelphia. 
(The Hopkinson Collection.) 


91 


No. 65. MRS. MARY C. NEAGLE. 


Painted by John Neagle in 1846 after the painting by Thomas Sully in 1824. 
Bust; low-necked gown; head to left with curls. 


Size of canvas, 15” x 18%”. 


Loaned by the granddaughter of the artist, Miss Sarah Sully Rawlins, 
of Philadelphia. 


No. 66. UNFINISHED SKETCH FOR A PORTRAIT. 


Lady; white dress with red mantle and large white hat with feather. 
Size of panel, 934” x 12”. 


Loaned by Mrs. Thornton S. Hardy, of Germantown, Philadelphia. 


No. 67. REV. JOSEPH PILMORE. 

Half length; seated in red chair; head to left; white hair; clerical robes; left 
arm resting on arm of chair and hand clasping Bible; right hand on right 
knee; column in background. (For biographical sketch see No. 115.) 


Size of canvas, 391%" x 4514". 


Loaned by The Historical Society of Pennsylvania, Philadelphia. 


92 


No. 68. CHILDREN’S HEADS. 
Study for a large picture, on wood panel. 
Size of Panel, 1214” x 101%”. 


Loaned by the Ehrich Galleries, of New York. 


No. 69. HEAD OF INDIAN BOY. 
(Ihahwahekyhih.) 


His adopted name was Henry Einhauer and he lived on the borders of 
Lake Huron. John Neagle painted his portrait in 1847. 


Size of canvas, 17” x 20”. 


Loaned by the Ehrich Galleries, of New York. 


93 


No. 70. ““PENSIONER OF THE REVOLUTION.” 


This painting has also been known as “ Patriotism and Age.” 

Half length; head to right; white hair and beard; tattered coat; a staff 
in the right hand and tattered hat in the left hand. Painted by John Neagle 
in 1830. (For other portrait, see No. 30.) 


Size of canvas, 25” x 30”. 


Loaned by Mrs. Walter Cope, of Germantown, Philadelphia. 


94 


No. 71. INDIAN HEAD. 
Full face; white blanket over right shoulder. 
Size of canvas, 17” x 18”. 


Loaned by Mr. W. F. Harold Braun, of Wynnewood, Pennsylvania. 


ING 872. THOMAS HILSON. 

Painted in the character of ‘‘Tyke”’ from the play ‘“‘ The School of Reform.” 
Bust; head ‘to left; right hand grasping collar of coat and open shirt. 
(For biographical sketch see No. 21.) 


Size of canvas, 2134” x 26”. 


Loaned by The Players of New York City. 


No. 73. EDWARD J. ALTEMUS. (1839-1902). 
(Aged three years.) 

Philadelphia merchant; born, 1839; died, 1902. He was an early member of 
the Union League of Philadelphia, and during the Civil War joined one 
of the regiments which was organized by the League. 
Painted by John Neagle in 1842. 
Portrait of a child holding a kitten. 

Size of canvas, 281%” x 361%”. 


Loaned by Mr. A. L. Altemus, of Germantown, Philadelphia. 


95 


No. 74. WILLIAM BURKE WOOD. (1779-1861). 


Actor, born in Montreal in 1779 and died in Philadelphia in 1861. Painted 
in the character of ‘‘King John.” His first appearance on the American 
stage was in the character of ‘John Barnwell” at Annapolis, Maryland, 
June 26, 1798, and in the same year he appeared in Philadelphia, 
in “Secrets Worth Knowing.” Afterwards, in New York, he played 
De Valmont. In the autumn of 1810, he began his career as manager 
in Baltimore, dividing his time between that city and Philadelphia, when 
later he was connected, at different periods, with the Walnut Street, 
Chestnut Street and Arch Street Theatres. 

Bust; head to left; wearing red velvet cap, ermine trimmed, and ermine- 
trimmed cape. 


Size of canvas, 21” x 261%”. 


Loaned by The Players of New York City. 


96 


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INO 7 5. REV. SAMUEL B. WYLIE, D.D. 


Study for the portrait. (For biography and portrait see No. 123.) 
Painted on Academy Board, 1034” x 1534”. 
Loaned by Mr. Albert Rosenthal, of Philadelphia. 


(NotE—The hands and background in the painting have been changed 
from that shown in the original sketch.) 


97 


No. 76. FAMILY GROUP. 

Half-length figures, sketched for a large picture which was never painted. 
The figures are John Neagle, his wife, Mary Sully Neagle, and five of their 
ten children. The picture standing on the floor is a portrait Neagle painted 
of his first child, Maurice, then deceased. 


Size of canvas, 16” x 201%”. 


Loaned by the granddaughter of the artist, Miss Sarah Sully Rawlins, of 
Philadelphia. 


No. 77. WILLIAM GIBSON. 
Study for the portrait. (For portrait and biographical sketch, see No. 54.) 
Painted on Academy Board, 1014” x 1334”. 


Loaned by Mr. Albert Rosenthal, of Philadelphia. 


98 


No. 78. ELLEN WHEELER NEAGLE. (1844-1850). 
MARGARET DICKSON. (1843-1853). 


‘Portrait of the artist’s two younger children. The portrait of Ellen Wheeler 
Neagle was painted after her death by her father in 1851. 

Portrait of two little girls; nearly full face; the younger resting her head 
on her sister’s shoulder. 


Size of canvas, 26” x 261%”. 


Loaned by Miss Sarah Sully Rawlins, granddaughter of the artist. 


99 


No. 79. MAURICE NEAGLE. 


Eldest son of the artist, John Neagle. 
Bust; nearly full face. 


Size of canvas, 1244” x 151%”. 


Loaned by Mr. S. Neagle Rawlins, of Philadelphia. 


100 


No. 80. REV. GEORGE WASHINGTON BETHUNE, D.D. 
(1805-1862). 


Born in New York City; died in Florence, Italy; was graduated from 
Dickinson College, 1832; many years pastor of the Dutch Reformed 
Church of Philadelphia, located at Tenth and Filbert Streets. An accom- 
plished student of English literature, he was the author of several works, 
the best known being a volume of poems, ‘‘ Lays of Love and Faith”’ (1848). 
His father, Divie Bethune, of a family originally French, was a prosperous 
New York merchant, one of the Managers of The St. Andrew’s Society, and 
highly honored for his benificent life and works. His mother, Joanna 
Graham Bethune, fairly earned the title ‘“Mother of Sabbath Schools 
in America.” 

Study for portrait of the Rev. George W. Bethune. Three-quarter length; 
head to right; clerical robes; left hand resting on open book; landscape 
on the left. 

Size of canvas, 1514" x 1234”. 


Loaned by The Historical Society of Pennsylvania, Philadelphia. 


101 


No. 81. JOHN NEAGLE. 
(Son of the artist.) 


“Tired of Play,’’ painted in 1840. Child resting his arms on drum. 
Size of canvas, 25%” x 31”. 


Loaned by the granddaughter of the artist, Miss Sarah Sully Rawlins, of 
Philadelphia. 


102 


No. 82. | EDMUND KEAN. (1787-1833). 


The actor, as ‘‘Shylock”’ in the ‘‘ Merchant of Venice.’’ Kean was born in 
London in 1787 and died in Richmond in 1833. His first appearance was in 
New York in 1820. The irregularity of his life destroyed his career. He 
was considered unequaled as Richard 3rd, Othello and King Lear. (See 
life of Neagle, page 12.) 

The portrait is a rapid sketch from recollection presented by the artist to 
his old school-mate and friend, Charles Durang, in 1855. Three-quarter 
length; left hand carrying a pair of scales; right hand a knife. 


Size of canvas, 71%" x9” on wood. 


Owned by The Pennsylvania Academy of the Fine Arts. 


103 


No. 83. INDIAN HEADS. 

Painted in 1828. On the right Sharitariske, Chief of the Great Pawnees, on 
the left Caussetongua or Big Kanzas. Busts; Indians in paint and feathers 
and light colored blankets. 


Size of canvas, 16%” x 23”. 


Loaned by The Historical Society of Pennsylvania, Philadelphia. 


104 


No. 84. INDIAN CHIEF. 


(Bravest of the Braves.) 


The Knife Chief of Panis Loups. ‘‘The bravest of the braves.’”’ An in- 
teresting anecdote of this distinguished chief is related in Poulson’s paper 
of 1st, February, 1822. It is an authentic account of his having preserved 
the life of an unfortunate female of the Padna nation, who was fastened 
to the stake and condemned to the torture, when this chief intrepidly 
stepped forward, and snatched her from the kindling pile. He was one 
of a delegation on a visit to this city, under the charge of Major O’Fallon. 
Sketch in oil from life. Painted by John Neagle in 1831. 


Canvas size, 1614” x 23”. 


Loaned by The Historical Society of Pennsylvania, Philadelphia. 


105 


No. 85. LEVI DICKSON. 

Son of John and Amy (Taylor) Dickson; a cousin and close friend of the 
artist. The portrait was owned for many years by the artist’s son, 
Garrett Cross Neagle, and was painted in 1834. 

Bust; head to left; arms folded; dark hair; black coat and stock. 


Size of canvas, 25” x 30”. 


Loaned by Mr. John Frederick Lewis, of Philadelphia. 


107 


No. 86. ROBERT WHARTON. (1757-1834). 


Mayor of Philadelphia, was born January, 1757. At an early age he entered 
the counting-house of his brother, Charles, a merchant of Philadelphia. 
Robert Wharton spent much of his time in out-door sports. He was President 
of the famous fox-hunting club of Gloucester and a governor of the Schuyl- 
kill Fishing Company. In 1796 he was made an Alderman of Philadelphia, ~ 
and in that year quelled a riot among the sailors, who demanded exhorbi- 
tant wages. After reading the riot act he requested them to disperse, and 
that being received with definance he ordered each of his men to “get his 
man.” The sailors were soon all captured and in jail. He was fifteen times 
elected Mayor of Philadelphia between 1798 and 1834. He died on March 
7, 1834. 

Bust; head to left; white stock and collar. 


Canvas size, 25” x 30”. 


Loaned by the Mutual Assurance Company of Philadelphia. 


108 


109 


No. 87. THOMAS PYM COPE. (1768-1854). 


Born in Lancaster County, Pennsylvania; died in Philadelphia; son of 
Caleb Cope, of Lancaster. He began business for himself in Philadelphia, 
in 1790, later importing his goods in his own vessels, the first of which, 
the Lancaster, he built in 1807. In 1821 he established the first line of 
packets between Philadelphia and Liverpool, which line continued until 
the beginning of the Civil War. He was President of the Mercantile 
Library Company from its foundation until his death, and of the Phila- 
delphia Board of Trade many years; was actively interested in 
completing the Chesapeake and Delaware Canal, and in the construction 
of the Pennsylvania Railroad. He was an Executor of Stephen Girard’s 
will, a trustee of the bank, a director of Girard College, and was inter- 
ested in many other Philadelphia institutions. This portrait was painted 
by John Neagle in 1848. 

Three-quarter length; seated with elbow resting on table; background seen 
through window on right showing ship with full sail. 


Size of canvas, 3954” x 50”. 


Loaned by the Mercantile Library Company, of Philadelphia. 


110 


111 


No. 88. DANIEL SMITH. (1755-1836). 


Son of Richard and Hannah (Somers) Smith was born in 1755 and died in 
Philadelphia in 1836. At the outbreak of the Revolution he entered the 
counting-house of Francis Gurney and finally became his partner. Smith 
served in the Revolution as Lieutenant of Marines on the Privateer Mars, 
and on one of his cruises was captured and confined for a time in a British 
prison ship at Providence, Rhode Island. Smith was a director of the Bank 
of North America from 1800 to 1833 and chairman of the Board of Trustees 
of the Mutual Assurance Company of Philadelphia, for whom John Neagle 
painted the portrait. 

Half length; seated; head to left; with hand thrust into front of buttoned 
coat; red background. 

Size of canvas, 25” x 30”. 


Loaned by the Mutual Assurance Company of Philadelphia. 


112 


No. 89. MISS ANNA GIBBON JOHNSON. (1809-1895). 


Of Salem, New Jersey; married, 1836, to Ferdinand Wakeman Hubbell, 
who lived and had his office at 92, now 208, South Fourth Street, Phila- 
delphia. Painted by John Neagle in 1828. 

Three-quarter length figure, standing by a stone balustrade. She wears a 
large red hat with white ostrich feather, and a red velvet fur-trimmed 
coat. A landscape is in the background. 


Size of canvas, 3434” x 4534”. 


Loaned by her daughter, Miss Helena Hubbell, of Philadelphia. 


113 


No. go. DAVID PEPPER. (1806-1840). 


Born and died in Philadelphia; was the second son of George Pepper, 
1779-1846, the well-known Philadelphia philanthropist, by his wife, Mary 
Seckel, and brother of George Pepper, Esq., some years President of The 
Pennsylvania Academy of the Fine Arts, and a founder of the Academy 
of Music. 

This portrait was painted by John Neagle in Philadelphia, in 1835. 

Bust; head to right; brown coat; black stock. 


Size of canvas, 25” x 30”. 


Loaned by Mrs. William Platt Pepper, of Philadelphia. 


114 


No. gl. MRS. JULIA WOOD. (1802-1854). 


English opera singer born in 1802; died in 1854. Her maiden name was 
Mary Anne Paton, in 1824 she married Lord William Pitt Lennox, she 
procured a divorce in 1831, and married Joe Wood, tenor singer, actor 
and pugilist, with whom she came to this country in 1833. Her portrait 
was painted by John Neagle in 1836 in the character of ““Amina”’ in the 
opera of ““Somnambula.”’ 

Bust; head to left; wearing velvet cap; low-necked velvet gown. 


Size of canvas, 2476" x 297%”. 


Loaned by The Musical Fund Society of Philadelphia. 


115 


No. 92. JOHN GRIGG. (1'792-1864). 


A Philadelphia publisher, was born in Cornwall, England, in 1792. He 
was left an orphan at six and at twelve years of age went to sea. He made 
several voyages and spent a year with relatives in Richmond, Virginia. In 
1816 he came to Philadelphia and entered a publishing house there, and in 
1823 began business on his own account and was very successful. He retired 
in 1850 with alarge fortune. His portrait was painted by John Neagle in 
1853 and shows him in his sixty-first year. 
Half length; seated; brown hair; scanty beard; left hand holding docu- 
ment; right hand resting on right knee; white stock. 


Size of canvas, 29” x 36”. 


Loaned by The Historical Society of Pennsylvania, Philadelphia. 


116 


No. 93. THE RIGHT REV. HENRY CONWELL. (1745-1842). 


Roman Catholic Bishop of Philadelphia. Born in Ireland in 1745; died in 
Philadelphia in 1842. 

This portrait was painted by John Neagle in 1826. Bishop Conwell was 
appointed to the See of Philadelphia in 1819, and was consecrated in 
London. Shortly after his arrival in Philadelphia he had difficulty with the 
Trustees of the Cathedral Church of St. Mary’s, who insisted on retaining 
a priest contrary to the desire of the Bishop. The result was a schism. 
Doctor Conwell and the Clergy of his Household abandoned the Cathedral 
and retired to the Church of St. Joseph in the neighborhood. He afterwards 
went to Rome, where the Papal Authorities endeavored to dissuade him 
from returning to the United States and used every effort to prevail on him 
to resign his See; but without effect. Rev. Francis Kenrick was later 
sent to Philadelphia as coadjutor. 

Half length; head to left; seated; with arm resting on books. Red velvet 
robe with gold cross suspended from neck. 


Canvas size, 2334” x 291%”. 


Loaned by His Eminence, Daniel, Cardinal Dougherty, Archbishop of 


Philadelphia. 
117 


No. 94. DR. WILLIAM POTTS DEWEES. (1768-1841). 
Physician, born in Pottsgrove, Pennsylvania, May 5, 1768; he died in 
Philadelphia, May 14, 1841. Hewas elected in 1834 Professor of Obstet- 
rics, at the University of Pennsylvania. 

Three-quarter length; standing with left hand resting on table and right 
hand holding document; brown coat; white neck cloth. 


Size of canvas, 4434” x 5634”. 


Loaned by the University of Pennsylvania. 


118 


119 


No. 95. JAMES COWLES FISHER. (1756-1840). 


Fourth child of William Fisher, 3rd (Mayor of Philadelphia, 1773) and 
Sarah Coleman, was born October 10, 1756, and died October 15, 1840. 
William Fisher, rst, a Quaker, had come over from Ross, Herefordshire, 
England, in 1684. 

James Cowles Fisher was educated at the School of Robert Proud. He was 
a prosperous ship owner and merchant, living in his earlier years at the 
ancestral home, 21 Arch Street, and later on Chestnut Street near Ninth, 
where he erected a large home surrounded by extensive gardens. 

He married, first, Hannah, daughter of Thomas Wharton; second, Ann, 
daughter of Joseph Wharton. 

James Cowles Fisher was for many years Director of the Bank of the 
United States as well as pro. tem. President thereof. He was also a Trustee 
of the Mutual Assurance Company and President of its Board. 

Half length; seated in red chair; head to right; white stock and collar; 
holding paper in his hand. 


Size of canvas, 25” x 30”. 


Loaned by the Mutual Assurance Company of Philadelphia. 


120 


121 


No. 96. CAPTAIN JOHN WALSH. (1740-1828). 


Was born in 1740 and was a native of Dublin, Ireland. During the revo- 
lution of the American Colonies, Walsh commanded armed merchantmen. 
He was seriously wounded by the exploding of a hand grenade in the battle 
off Sandy Hook, and was imprisoned in a British prison ship at Long 
Island. He succeeded in making his escape from the British and rejoined 
the American Naval Forces. He died in Philadelphia. 

This portrait was painted by John Neagle from a daguerrotype. It shows 
a life-size, seated figure seen to the waist; with hands grasping the top of 
his cane. He wears a dark blue coat and a buff waistcoat. 


Size of canvas, 29” x 36”. 
’ 


Loaned by the Metropolitan Museum of Art, New York City. 


122 


No. 97. LYDIA KELLY. 


Was in her day a celebrated American actress. John Neagle painted her 
portrait in 1826 in the character of ‘‘ Beatrice” in the play of ‘‘Much Ado 
About Nothing.” 
Bust; nearly full face; with large ostrich plume in her hair, and low-neck 
evening gown. 

Size of canvas, 2414" x 2614". 


Loaned by the Kane Art Shoppe, of Philadelphia. 


123 


No. 98. CAPTAIN SELAH STRONG. (1737-1815). 
He was born in Suffolk County, New York, in 1737 and died in 1815. He 
was a delegate to the Provincial Congress in Philadelphia in 1775, and 
served as a Captain in the Revolution. He was State Senator from 1792 
until 1796 and first judge of the Common Pleas Court in 1783. 

Bust in uniform; head to left. 


Size of canvas, 25” x 30”. 


Loaned by Mr. John Frederick Lewis, of Philadelphia. 


No. 99. ANN C. RUDMAN. (1804-1881). 
Wife of William Crook Rudman, of Philadelphia. (See No. 37.) 
Size of canvas, 25” x 30”. 


Loaned by Mr. A. T. Bay, of New York City. 


124 


No. 100. JOSEPH TAGERT. (1758-1849). 


Born in Newton-Stewart, County Tyrone, Ireland; died in Philadelphia; 
member of the firm of Tagert and Smith, importers and wholesale dealers 
of Philadelphia, 1795; Secretary of the Hibernian Society, various years 
between 1800 and 1818, and President, 1818 until his death, August 2, 1849. 
President for forty years of the Farmers and Mechanics Bank of Phila- 
delphia. This portrait was painted on the order of the bank in 1848 
by John Neagle. 

Three-quarter length; seated in red chair; cane in hand; legs crossed. 


Size of canvas, 40” x 50’. 


Loaned by Mr. Enrico Stein, of New York City. 


125 


No. tot. PORTRAIT OF A LADY. 
Bust; head to right; black dress with shawl over shoulders. 
Canvas size, 25” x 30”. 


Presented to the Summer School of The Pennsylvania Academy of the 
Fine Arts at Chester Springs, by Mr. John Frederick Lewis, of Philadelphia. 


126 


No. 102. REV. JOHN JACOB ROBERTSON, D.D. 


Half length; seated; head to right; brown hair; clerical robes; left hand 
holding a manuscript. 
Painted by John Neagle in 1828. 


Size of canvas, 25” x 30”. 
’ 


Loaned by Mrs. Horace J. Baker, of Chester, Pennsylvania. 


127 


No. 103. HENRY CLAY. (1777-1852). 


Statesman who bore the appellation conferred upon Pitt, of ‘The Great 
Commoner,” has left behind him the most distinct personality of any of 
the statesmen of his era. Where Daniel Webster counted his admirers by 
hundreds, Henry Clay was idolized by thousands. His strongly marked 
features are familiar to everyone from his many portraits, so that John 
Neagle’s picture painted from life in 1843 needs no perfunctory certificate 
to assure us of its life-like truthfulness. This portrait was presented to the 
“Union League of Philadelphia” by Henry Pratt McKean. It is the 
original portrait from life of which Neagle painted the well-known replica 
of the same size which hangs in the Capitol at Washington. 

Henry Clay was born in Hanover County, Virginia, April 12, 1777, and 
died at Washington, June 29, 1852, preceding his compeer, Webster, to the 
grave by only a few months. He was undoubtedly one of the greatest ora- 
tors this country has produced, and his name is one to conjure with in 
old Kentucky, the blue grass state, even at this day nearly seventy-five 
years after his decease. 

Full length; standing in act of speaking; to the right an American Flag 
draped over a globe of the world and to the left an anvil and plough with 
sea and ship in background. (For other portraits, see Nos. 6 and 108.) 


Size of canvas, 11034” x 72%”. 


Loaned by the Union League of Philadelphia. 


128 


129 


No. 104. THOMAS MCCREDY. (1826-1856). 
Born: in Dublin; died in Philadelphia; son of Bernard McCredy by his 
wife, Martha Smith Newlin. Studied law, and admitted to the Philadel- 
phia Bar, in 1852. 


Painted in 1854. Half length; seated in red chair; head to left; brown hair; 
dark coat; dark stock; right arm resting on table with books. 


Size of canvas, 29” x 36”. 


Loaned by Mr. John H. Fassitt, of Germantown, Philadelphia. 


130 


No. 105. ORIGINAL SKETCH. 
PAT LYON AT THE FORGE. 


Inscribed on the back: “The original study in colors by John Neagle for 
Pat Lyon the blacksmith. A rapid sketch for arrangement and general 
effect, Philada., Penna.” and beneath this is written, ‘‘The above is my 
father’s handwriting, Garrett C. Neagle, January 23rd, ’97.” 

(For portraits see Nos. 40 and 106.) 


Size of canvas, 8” x 10”. 


Owned by The Pennsylvania Academy of the Fine Arts. 


131 


No. 106. PATRICK LYON. (1779-1829). 
(PAT LYON.) 


Born in London; died in Philadelphia, and was buried in St. Peter’s 
Churchyard, Third and Pine Streets. A unique character, mechanical 
genius, noted locksmith and maker of fire engines. 

“Pat Lyon at the Forge.’”’ The original of this picture was painted in 1826 
when the artist was twenty-nine years of age and is now the property of 
the Boston Museum of Fine Arts. This portrait, the property of The 
Pennsylvania Academy of the Fine Arts, is an enlarged replica painted 
in 1829. The subject, Pat Lyon, was well-known in Philadelphia. He 
had acquired a considerable fortune and when he called upon Neagle to 
paint his portrait said, ‘‘Paint me as a blacksmith.” (See life of Neagle, 
page g.) The picture was presented to the Academy by the Neagle 
family. (For original sketch see No. 105 and for other portrait see 
No. 40.) 


Size of canvas, 69” x 95”. 


Owned by The Pennsylvania Academy of the Fine Arts. 


132 


133 


No. 107. MRS. THOMAS MCCREDY. (1826-1912). 


Neé Dolores Emma Wilson, born in France; died in Philadelphia; 

daughter of Richard Wilson, of Santiago de Cuba and Philadelphia, by 

his wife, Algaié Clemenceau. 

Painted in 1854. Half length; seated on light brown chair; head to right; 

dark brown hair; low-necked maroon velvet gown; right hand resting 

on arm of chair; with black lace over the arm; landscape in background. 
Size of canvas, 29%" x 3614". 


Loaned by Mr. John H. Fassitt, of Germantown, Philadelphia. 


134 


No. 108. HENRY CLAY. 
Replica. This portrait hangs in the Capitol, Washington, D. C. (For 


biographical sketch see No. 103, and for other portraits see Nos. 6 and 103.) 


Size of canvas, 111” x 72”. 


Loaned by the United States Government. 
185 


No. 109. HON. ARCHIBALD RANDALL. (1797-1846). 
Prominent Philadelphia lawyer, he was admitted to the Bar April 13, 
1818; appointed by President John Tyler, Judge of the United States 
District Court for the Eastern District of Pennsylvania. 

Portrait painted by John Neagle in 1826. 

Bust; head to left; with hand resting on book. 


Size of canvas, 25” x 30”. 


Owned by The Pennsylvania Academy of the Fine Arts. 


136 


No. 110. MRS. ARCHIBALD RANDALL. 


Bust; head to right; black low-necked dress with red shawl over shoulders. 
Size of canvas, 2514” x 30”. 


Owned by The Pennsylvania Academy of the Fine Arts. 


137 


i 
? 
2% 
fs 


besa 


No. 111. REV. PHILIP F. MAYER, D.D. (1781-1858). 


Born in New York; died in Philadelphia; was graduated at Columbia, 
1799; received the D.D. degree from the University of Pennsylvania, 1823; 
from Columbia in 1837; declined that honor from Harvard in 1804, on the 
ground that he was too young; also declined the provostship of the Uni- 
versity of Pennsylvania in 1823, but was many years a trustee; accepted 
in 1806 the pastorate of St. John’s, Philadelphia, the first exclusively 
English Lutheran Church in this country, where he remained throughout 
his useful life. 

This portrait was painted by John Neagle in 1853 from life, upon the order 
of the Board of Trustees of the Evangelical Lutheran Congregation of 
St. John’s Church of the City of Philadelphia. 

Three-quarter length; seated; head to left; gray hair; clerical robes; 
left arm resting on Bible bound in brown leather; right arm resting on arm 
of chair. 


Size of canvas, 4014” x 501%”. 
Loaned by St. John’s Evangelical Lutheran Church of Philadelphia. 
138 


No. 112. MARY ANN HOOD. 
Daughter of Thomas and Anna Thompson. Half length; seated; wearing 


a black dress with a red shawl drawn around her shoulders. The portrait 
was painted in 1826. 


Size of canvas, 40” x 341%”. 


Loaned by Mrs. B, F. Clyde, of Bryn Mawr, Pennsylvania. 


139 


No. 113. REV. GREGORY TOWNSEND BEDELL. 


Half length in clerical robes; nearly full face. (For biographical sketch 
and other portrait, see No. 11.) 


Size of canvas, 25” x 30”. 


Loaned by the Ehrich Galleries, of New York. 


140 


No. 114. WILLIAM STRICKLAND. (1787-1854). 


Eminent as an architect and engineer, was born in Philadelphia in 1787, 
and died in Nashville, Tennessee, April 7, 1854. He established his repu- 
tation as an architect by designing the old Masonic Hall on Chestnut 
Street; the United States Bank; the Merchants Exchange; the United 
States Naval Asylum; the old United States Mint on Chestnut Street; 
and many other public buildings in Philadelphia. His last great work was 
the State Capitol, Nashville, Tennessee, beneath which he was buried. 
Strickland did some portrait painting, and engraving; he also designed 
the lid of Washington’s coffin. 

John Neagle signed and dated this portrait which he painted from life 
in 1829. 

Half length; head to right; brown hair and side whiskers; blue-gray coat; 
yellow waistcoat; white stock; right elbow resting on table and hand 
with crayon supporting a drawing board; Greek Temple as a background 


Size of canvas, 25” x 30”. 


Loaned by Mr. Walter Jennings, of New York City. 
141 


No. 115. REV. JOSEPH PILMORE. (1739-1825). 


Clergyman, born in England in 1739 and died in Philadelphia in 1825. He 
obtained his education from John Wesley’s school at Kingswood and under- 
took the work of an Itinerant or lay-preacher under Wesley’s direction. 
In 1769 he came to this country on a mission to establish Methodism in 
Philadelphia. He preached from the steps of the State House on Chestnut 
Street and in many Philadelphia taverns. He established the first church 
that was owned by the Methodists in Philadelphia. He afterwards joined 
the Protestant Episcopal Church, and was for many years rector of 
St. Paul’s Church in this city. He was a member of The Society of the 
Sons of St. George. 

Half length; seated in red chair; head to left; white hair; clerical robes; 
left arm resting on arm of chair and hand clasping Bible; right hand on 
right knee; column in background. (For other portrait, see No. 67.) 


Size of canvas, 39%" x 45%". 


Loaned by The Society of the Sons of St. George, Philadelphia. 
142 


No. 116. HON. JOHN KENT KANE. 


Born in Albany, New York, in 1795; died in Philadelphia in 1858. He 
graduated from Yale College in 1814 and was admitted to the Bar of Penn- 
sylvania in 1817, and was City Solicitor of Philadelphia in 1830. He was 
elected a member of the Legislature in 1823. Under Act of Congress July 
22nd, President Jackson appointed him in 1831 one of the three commis- 
sioners to settle the claims between the United States and France. He was 
Attorney-General of Pennsylvania in 1845 and was Judge of the United 
States District Court from 1846 to 1858. He was one of the founders of the 
Academy of Music of Philadelphia and was President of the American 
Philosophical Society. 


Size of canvas, 25” x 304”. 


Loaned by Mrs. Bayard Stockton, of Princeton, New Jersey. 


143 


No. 117. PORTRAIT OF A GENTLEMAN. 


Painted in 1830. Bust; full face; dark hair and side whiskers; dark coat 
with brass buttons; buff waistcoat and buff stock. 


Size of canvas, 25” x 30”. 


Loanéd by Mr. John F, Braun, of Philadelphia: 


144 


No. 118. DAVID PAUL BROWN. (1'795-1872). 


Lawyer, author, born in Philadelphia in 1795 and died there in 1872. 
He was well known as an orator and was prominent throughout his long 
and active life. 

Half length; seated; head to left; brown hair; black coat; black satin 
waistcoat; white neck cloth; left hand resting on book on a table and 
holding a document. 


Size of canvas, 291%” x 363%”. 


Loaned by The Law Association of Philadelphia. 


145 


No. 1109. WILLIAM RUSH. (1'756-1833). 


America’s first sculptor, was born in Philadelphia on July 4, 1756, and 
died there on January 17, 1833. In his youth he was apprenticed to the 
carver, Edward Cutbush, and became known as a maker of figure-heads 
for ships. He did not confine himself entirely to ship carving, and in 1812 
he exhibited at The Pennsylvania Academy of the Fine Arts, several 
figures and busts. His best known statue is that of Washington (1814) 
which was purchased by the city of Philadelphia, and is now in Congress 
Hall, Independence Square. A cast of this statue, in bronze, was presented 
to the Academy by the late Mr. Edward H. Coates. This portrait was 
painted in 1831. 
Half length; head to right; white hair; dark coat with high collar and 
black stock. 
Size of canvas, 25” x 30%”. 


Loaned by Mr. William Kane, of New York City. 
146 


No. 120. JOSEPH CLAYPOOLE CLARK. (1796-1881). 


Wealthy resident of Mt. Holly, New Jersey, where he was long rector’s 
warden of St. Andrew’s Church; second son of Jacob Clark of that town. 
His mother, Ann Claypoole (1764-1832), daughter of Joseph Claypoole, 
of Philadelphia, was a cousin of Mary Claypoole (1753-1829), who married 
James Peale (1749-1831). 

Half length; seated with arm over back of chair; head to left. 


Size of canvas, 2314” x 29%”. 


Loaned by his grandson, Mr. Walter Leighton Clark, of New York. 


147 


No. 121. COLONEL AUGUSTUS JAMES PLEASONTON. 
(1808-1894). 


Soldier and author. Born in Washington, D.C., he was graduated from the 
United States Military Academy in 1826; resigned from the army after 
short service; studied law; admitted to the Philadelphia Bar in 1832; 
served in the Pennsylvania Militia, became Colonel in 1835; was assistant 
Adjutant-General and Paymaster-General of Pennsylvania, 1838-1839; 
Brigadier-General of Pennsylvania, 1861; charged with the organization 
and command of the Home Guards during the Civil War. He published 
many papers on advocacy of his blue ray theories, and a book entitled, 
“Tnfluence of the Blue Ray of the Sunlight and of the Blue Color of the Sky 
in Developing Animal and Vegetable Life in Arresting Disease’ (1876). 


Size of canvas, 29%" x 3614”. 


Loaned by Mr. Eugene S. Pleasonton, of New York City. 
148 


No. 122. THOMAS W. DYOTT, M.D. _ (1782-1844). 


Native of England, established in the neighborhood of Second and Race 
Streets, from 1806 to 1844; purchased the Kensington Glass Works in 
1833, which he operated at “Dyottville,” on the community plan, em- 
ploying some three hundred persons in the manufacture of bottles and 
vials. The general business depression of 1837 caused the suspension of 
this unique enterprise. 

Prosperous Philadelphia druggist and apothecary. Painted by John Neagle 
in 1836. 

Bust; head to left; gray hair; wearing spectacles. 


Size of canvas, 25” x 2934”. 


Loaned by Mr. C. B. Thomas, of New York City. 


149 


No. 123. REV. SAMUEL BROWN WYLIE, D.D. 
(1773-1852). 


Born in Ireland; died in Philadelphia; was graduated from Glasgow Univer- 
sity, 1797; became a tutor in the University of Pennsylvania in 1798; 
subsequently establishing and successfully conducting for many years a 
private academy in Philadelphia. He studied theology under the Reformed 
Presbyterian Church, was pastor of the First Reformed Presbyterian 
Church of Philadelphia from 1802 until his death in 1852, and professor 
at the Theological Seminary of his faith from 1809 until 1851. Between 
1828 and 1845 he occupied the Chair of Languages, University of Pennsyl- 
vania, of which he was Vice-provost, 1838-1845. Dickinson College gave 
him the D.D. degree in 1816. 

Painted by order of the students in the Department of Art, between 1828 
and 1845. 

Three-quarter length; seated in chair; head to left; wearing gold spec- 
tacles; hand resting on book. (For study for portrait, see No. 75.) 


Size of canvas, 40%” x 5014”. 


Loaned by the University of Pennsylvania. 


150 


151 


No. 124. CLAYTON EARL. ( -1834). 


A prominent Philadelphia merchant who lived for many years at No. 20 
Pine Street and whose counting-house was at No. 23 North Water Street. 
In 1812 he was one of the business men of Philadelphia who formed a 
subscription for the purchase of a silver service to be presented to ‘Captain 
Hull, Commander of the United States Frigate Constitution, for his bril- 
lant action with the British Frigate Guerrier.’ This portrait painted 
by John Neagle in 1832, two years before the death of Mr. Earl, was the 
bequest of his son, Harrison Earl, to The Pennsylvania Academy of the 
Fine Arts. 

Bust; head to left; brown coat and white waistcoat. 


Size of canvas, 25” x 30”. 


Owned by The Pennsylvania Academy of the Fine Arts. 


152 


No. 125. MRS. CLAYTON EARL. ( -1838). 
(CORNELIA HARRISON.) 

Died in Philadelphia in 1838. 

Her portrait, painted in 1832, was bequeathed by her son, Harrison Earl, in 

1894 to The Pennsylvania Academy of the Fine Arts. 

Bust; head to right; gray shawl over shoulders; red curtain in background. 


Size of canvas, 25” x 30”. 


Owned by The Pennsylvania Academy of the Fine Arts. 


153 


IN THE CASES 
NORTH CORRIDOR 


126, 127, 129, 130-134 are loaned by Miss Sarah Sully Rawlins, of 
Philadelphia. 


126—Sketch. 

127—Daguerrotype of John Neagle. 

128—Drawing—Charles Dupee (of Mendenhall Memory), a slave belong- 
ing to the Hon. Henry Clay; emancipated by Mr. Clay, December 
9, 1844. Drawn by John Neagle from life in Lexington, Kentucky, 
November 20, 1842. 
Loaned by Mr. Horace Wells Sellers, of Ardmore, Pennsylvania. 

129—Miniature of John Neagle by J. R. Smith. 

130—oSketch. 

131—oketch. 

132—Sketch Book which belonged to John Neagle. 

133—-Photograph of John Neagle. 

134—Sketch. 


135—John Neagle’s Commonplace Book (page 1, sketch of Neagle’s life). 
Loaned by The Historical Society of Pennsylvania. 


136—Letter John Neagle sent to Thomas Sully. 
Loaned by The Historical Society of Pennsylvania. 


137—Photograph of John Neagle—signed by the artist. 
Loaned by Mr. Ernest Parker, of Philadelphia. 


154 


INDEX 
Pio Ubl/ECis bY CATALOGUE NUMBERS 


Alexander, James, 4 
’ Alexander, John, 12 
Altemus, Edward J., 73 


Barrett, Henry, 32 

Bascom, Rev. H. B., 5 

Bedell, Rev. Gregory Townsend, I1, 113 
Bethune, Rev. George Washington, 80 
Birch, Thomas, 50, 56 

Booth, Junius Brutus, 25 

Brown, David Paul, 118 

Buck, Charles Nicholas, 18 

Burt, Nathaniel, 45 


Carey, Mathew, 27 

Children’s Heads, 68 

Clark, Joseph Claypoole, 120 
Clay, Henry, 6, 103, 108 
Commonplace Book, 135 
Conwell, The Right Rev. Henry, 93 
Cooper, James Fenimore, 44 
Cope, Thomas Pym, 87 
Crawford, Mrs. Samuel B., 42 
Crawford, Rev. Samuel W.., 3, 33 
Cummings, William, 13 


Daguerrotype, John Neagle, 127 
Dearborn, Henry, 48 

Dewees, Dr. William Potts, 94 
Dickson, Mrs. John (Amy Taylor), 31 
Dickson, Levi, 85 

Dickson, Margaret, 78 

Dupee, Charles, 128 

Dyott, Dr. Thomas W., 122 


Earl, Clayton, 124 
Earl, Cornelia, 125 
Elkinton, Dr. John A., 8 


Family Group, 76 

Fisher, James Cowles, 95 
Foote, John Forrester, 60 
Friedlander, Julius R., 9 


Gibson, William, 54, 77 
Grigg, John, 92 


Hare, Robert, 26 

Hayes, Patrick, 59 

Head of Indian Boy, 62, 69 
Hilson, Thomas, 21, 72 
Holmes, Mary, 61 

Hood, Mary Ann, I12 
Horner, William Edmund, 24 
Hurlbut, M. L., 20 


Indian Chief, 84 
Indian Head, 71 
Indian Heads, 83 
Irving, Washington, 38 


Johnson, Miss Anna Gibbon, 89 


Kane, Hon. John Kent, 116 
Kean, Edmund, 82 
Kelly, Lydia, 97 


Lyon, Pat, 40, 105, 106 
Letter, John Neagle to Thomas Sully, 136 


McCredy, Mrs. Thomas, 107 
McCredy, Thomas, 104 
Mcllhenney, William, 43 
Mackenzie, William, 16 


155 


INDEX 


Mayer, Rev. Dr. Philip F., 111 Smiley, Mrs. Thomas Tucker (Sarah 
Milnor, Mrs. William, 36 Loud), 51 
Milnor, Hon. William, 23 Smiley, Thomas Tucker, 52 
Miniature of John Neagle by J. R. Smith, Smith, Daniel, 88 

129 Sketch, 126, 130, 131, 134 

Sketch Book, 133 

Neagle, Ellen Wheeler, 78 Sparks, Thomas, 17 
Neagle, John, 81 Stillé, John, 39 
Neagle, John, Photograph of, 137 Strickland, William, 114 
Neagle, Mrs. Mary C., 65 Strong, Captain Selah, 98 
Neagle, Maurice, 79 Stuart, Gilbert, 49 


Swaim, Mrs. William, and Daughter, Elisa 


Patterson Robert Machel (Later Mrs. Oliver Hopkinson), 64 


Pensioner of the Revolution, 30, 70 
Tagert, Joseph, 100 


Thompson, Captain John, 14 
Tilghman, Chief Justice William, 19 


Pepper, David, 90 

Pike, Marshall S., 1 

Pilmore, Rev. Joseph, 67, 115 

Platt, Emily, 63 

Pleasonton, Colonel Augustus James, 121 
Portrait of a Lady, 101 

Portrait of a Gentleman, 117 


Unfinished Sketch for a Portrait, 66 


Wallace, Andrew, 58 
Wallace, John William, 2 
Walsh, Captain John, 96 


Rendall Hoare Washington, Mrs. Elizabeth Sterritt, 57 
Randall, Mrs. Archibald, 110 Watmough, Pendleton Gaines, 28 
Red Jacket, 55 Webster, Daniel, 34 
Robertson, D.D., John Jacob, 102 Wharton Rohearmee 
Rodney, Mrs. John, 22 Whilldin, Jr., Captain Wilmon, 41 
Rudman, Ann C., 99 Whilldin, Captain Wilmon, 46 
Rudman, William Crook, 37 Whilldin, Mrs. Wilmon, 47 
Rush, William, 119 White, Mr., 15 
Ryan, Rev. John Albert, 29 Whitman, Rev. Jason, 53 

Wood, W. B., 74 
Sharswood, Chief Justice George, 10 Wood, Mrs. Julia, 91 
Short, William, 7 Wylie, Samuel B., 75, 123 


156 


INDEX 


OFSTHE LENDERS OF THE PAINTINGS BY 
CATALOGUE NUMBERS 


Alexander, Lucien Hugh, 12 

Altemus, A. L., 73 

Archambault, Miss A. Margaretta, 32 
Ashton, Dr. Thomas G., 51, 52 
Atheneum of Philadelphia, The, 43 


Baker, Mrs. Horace J., 102 
Barratt, Jr., Norris S., 13 

Bay, A. T., 29, 31, 99 

Braun, John F., 14, 61, 117 
Braun, W. F. Harold, 71 
Brinton, Mrs. Ferree, 39 
Brown, 3rd, Mrs. T. Wistar, 18 
Burt, The Misses, 45 


Clark, Walter L., 120 

Cleveland Museum of Art, The, 20 
Clyde, Mrs. B. F., 112 

Cope, Mrs. Walter, 70 

Cornell, Mrs. John M., 5 


Dougherty, His Eminence, Daniel, Cardi- 
nal, 93 


Ehrich Galleries, The, 15, 53, 56, 68, 69, 
113 


Elkinton, Miss Margaretta, 8 
Fassitt, John H., 104, 107 


Gardiner, Mrs. Howard, 27 


Hardy, Mrs. Thornton S., 66 
Hepburn, Barry Hayes, 59 


Historical Society of Pennsylvania, The 
7, II, 40, 49, 55, 64, 67, 80, 83, 84, 92, 
135, 136 

Hubbell, Miss Helen, 89 

Hutchinson, Mrs. M., C., 22 


Jennings, Walter C., 114 


Kane, William, 119 
Kane Art Shoppe, 97 
Kotz, Miss Eleanor Whittlesey, 36 


Law Association of Philadelphia, The, ro, 
19, 118 

Leach, Miss A. Adele, 46, 47 

Lewis, John Frederick, 2, 6, 38, 48, 85, 98, 
IOI 

Library Company of Philadelphia, The, 16 


McClees, J. E., 1 

McGurk, Jonce J., 23 

McIntyre, A. Reed, 4 

Mercantile Library, The, 87 

Metropolitan Museum, The New York, 96 

Musical Fund Society of Philadelphia, 
Thexor 

Mutual Assurance Company of Philadel- 
phia, 86, 88, 95 


Parker, Ernest, 137 
Pennsylvania Academy of the Fine Arts, 
The, 21, 37, 50, 82, 105, 106, 109, I10, 


124, 125 


157 


INDEX 


Pennsylvania Institute for the Instruction 
of the Blind, The, 9 

Pepper, Mrs. William Platt, 90 

Players, The, of New York City, 60, 72, 74 

Pleasonton, Eugene S., 121 

Pratt, Herbert Lee, 58 


Rawlins, S. Neagle, 79 

Rawlins, Miss Sarah Sully, 65, 76, 78, 81, 
£26, 127, 120-134 

Robins, Thomas, 35 

Rosenthal, Albert, 25, Wha UE 


Sears Academy of Fine Arts, of the Elgin 
Academy, Elgin, Ill., 30 

Society of the Sons of St. George, The, 115 

Sellers, Horace Wells, 128 

Sparks, Mr. and Mrs. Thomas, 17 


St. John’s Evangelical Lutheran Church, 
III 

Stengel, Mrs. Alfred, 63 

Stein, Mr. Enrico, 100 

Stockton, Mrs. Bayard, 116 

Summers, Mrs. William D., 41 


homass Cy brai22 
Thomas, Mrs. Samuel Hinds, 62 


Union League of Philadelphia, 103 
United States Government, The, 34, 108 
University of Pennsylvania, The, 24, 26, 


54, 94, 123 


Watmough, Jr., Pendleton Gaines, 28 
Wiestling, Mrs. E. B., 3; 33, 42, 57 


Yale University, The Corporation of, 44 


158 


Wa O01 


